[Federal Register Volume 62, Number 112 (Wednesday, June 11, 1997)]
[Rules and Regulations]
[Pages 31713-31721]
From the Federal Register Online via the Government Publishing Office [www.gpo.gov]
[FR Doc No: 97-15428]
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DEPARTMENT OF THE TREASURY
Customs Service
19 CFR Part 12
[T.D. 97-50]
RIN 1515-AC17
Archaeological and Ethnological Material From Peru
AGENCY: U.S. Customs Service, Department of the Treasury.
ACTION: Final rule.
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SUMMARY: This document amends the Customs Regulations to reflect the
imposition of import restrictions on certain archaeological material of
Peru's pre-Columbian past dating to the Colonial period and certain
Colonial ethnological materials of Peru. These restrictions are being
imposed pursuant to an agreement between the United States and Peru
which has been entered into under the authority of the Convention on
Cultural Property Implementation Act in accordance with the United
Nations Educational, Scientific and Cultural Organization (UNESCO)
Convention on the Means of Prohibiting and Preventing the Illicit
Import, Export and Transfer of Ownership of Cultural Property. The
document also contains the Designated List of Archaeological and
Ethnological Material which describes the articles to which the
restrictions apply. This document also amends the Customs Regulations
by removing the listing of Peru and identification of the cultural
property to which emergency import restrictions have been imposed.
Articles which had been protected under that provision are also covered
under the new listing.
EFFECTIVE DATE: June 11, 1997.
FOR FURTHER INFORMATION CONTACT: Legal Aspects: Donnette Rimmer,
Intellectual Property Rights Branch (202) 482-6960.
Operational Aspects: Louis Alfano, Commercial Enforcement, Office
of Field Operations (202) 927-0005.
SUPPLEMENTARY INFORMATION:
Background
The value of cultural property, whether archaeological or
ethnological in nature, is immeasurable. Such items often constitute
the very essence of a society and convey important information
concerning a people's origin, history, and traditional setting. The
importance and popularity of such items regrettably makes them targets
of theft, encourages clandestine looting of archaeological sites, and
results in their illegal export and import.
The U.S. shares in the international concern for the need to
protect endangered cultural property. The appearance in the U.S. of
stolen or illegally exported artifacts from other countries where there
has been pillage has, on occasion, strained our foreign and cultural
relations. This situation, combined with the concerns of museum,
archaeological, and scholarly communities, was recognized by the
President and Congress. It became apparent that it was in the national
interest for the U.S. to join with other countries to control illegal
trafficking of such articles in international commerce.
The U.S. joined international efforts and actively participated in
deliberations resulting in the 1970 UNESCO Convention on the Means of
Prohibiting and Preventing the Illicit Import, Export and Transfer of
Ownership of Cultural Property (823 U.N.T.S. 231 (1972)). U.S.
acceptance of the 1970 UNESCO Convention was codified into U.S. law as
the ``Convention on Cultural Property Implementation Act'' (Pub.L. 97-
446, 19 U.S.C. 2601 et seq.) (``the Act''). This was done to promote
U.S. leadership in achieving greater international cooperation towards
preserving cultural treasures that are of importance not only to the
nations whence they originate, but also to greater international
understanding of mankind's common heritage. The U.S. is, to date, the
only major art importing country to implement the 1970 Convention.
During the past several years, import restrictions have been
imposed on a emergency basis on archaeological and ethnological
artifacts of a number of signatory nations as a result of requests for
protection received from those nations.
Peru has been one of the countries whose archaeological material
has been afforded emergency protections. In T.D. 90-37,
Sec. 12.104g(b), Customs Regulations, was amended to reflect that
archaeological material from the Sipan Archaeological Region forming
part of the remains of the Moche culture received import protection
under the emergency protection provisions of the Act. This protection
was extended in T.D. 94-54. Import restrictions are now being imposed
on certain pre-Columbian archaeological materials of Peru dating to the
Colonial period and certain Colonial ethnological material from Peru as
the result of a bilateral agreement entered into between the United
States and Peru. This agreement was entered into on June 9, 1997,
pursuant to the provisions of 19 U.S.C. 2602. Protection of the
archaeological material from the Sipan region previously reflected in
Sec. 12.104g(b) will be continued through the bilateral agreement
without interruption. Accordingly, Sec. 12.104g(a) of the Customs
Regulations is being amended to indicate that restrictions have been
imposed pursuant to the agreement between the United States and Peru
and the emergency import restrictions on certain archaeological
material from Peru is being removed from Sec. 12.104g(b) as those
restrictions are now encompassed in Sec. 12.104g(a).
This document contains the Designated List of Archaeological and
Ethnological Material representing the cultures of the native peoples
of Peru which are covered by the agreement. Importation of articles on
this list is restricted unless the articles are accompanied by an
appropriate export certificate issued by the Government of Peru.
In reaching the decision to recommend extension of protection, the
Deputy Director, United States Information Agency, determined that,
pursuant to the requirements of the Act, with respect to categories of
pre-Columbian archaeological material proposed by the Government of
Peru for U.S. import restrictions, ranging in date from approximately
12,000 B.C. to A.D. 1532, and including, but not limited to, objects
comprised of textiles, metals, ceramics, lithics, perishable remains,
and human remains that represent cultures that include, but are not
limited to, the Chavin, Paracas, Vincus, Moche (including objects
derived from the archaeological zone of Sipan), Viru, Lima, Nazca,
Recuay, Tiahuanaco, Huari, Chimu, Chancay, Cuzco, and Inca; that the
cultural patrimony of Peru is in jeopardy from the pillage of these
irreplaceable materials representing pre-Columbian heritage; and that
with respect to certain categories of ethnological material of the
Colonial period, ranging in date from A.D. 1532 to 1821, proposed by
the Government of Peru for U.S. import restrictions but limited to (1)
objects directly related to the pre-Columbian past, whose pre-Columbian
design and function are maintained with some Colonial characteristics
and may include textiles, metal objects, and ceremonial wood, ceramic
and stone vessels; and (2)
[[Page 31714]]
objects used for religious evangelism among indigenous peoples and
including Colonial paintings and sculpture with distinct indigenous
iconography; that the cultural patrimony of Peru is in jeopardy of
pillage of these irreplaceable materials as documented by the request.
List of Designated Archaeological and Ethnological Material From
Peru
Pursuant to a Memorandum of Understanding between the United States
and the Republic of Peru, the following contains descriptions of the
cultural materials for which the United States imposes import
restrictions under the Convention on Cultural Property Implementation
Act (Pub. L. 97-446), the legislation enabling implementation of the
1970 UNESCO Convention on the Means of Prohibiting and Preventing the
Illicit Import, Export and Transfer of Ownership of Cultural Property.
The Designated List includes archaeological materials known to
originate in Peru, ranging in date from approximately 12,000 B.C. to
A.D. 1532, and including, but not limited to, objects comprised of
textiles, metals, ceramics, lithics, perishable remains, and human
remains that represent cultures that include, but are not limited to,
the Chavin, Paracas, Vicus, Moche, Viru, Lima, Nazca, Recuay,
Tiahuanaco, Huari, Chimu, Chancay, Cuzco, and Inca cultures. The
Designated List also includes certain categories of ethnological
materials from Peru dating to the Colonial period (A.D. 1532-1821),
limited to: (1) objects directly related to the pre-Columbian past,
whose pre-Columbian design and function are maintained with some
Colonial characteristics and may include textiles, metal objects, and
ceremonial wood, ceramic and stone vessels; and (2) objects used for
religious evangelism among indigenous peoples and including Colonial
paintings and sculpture with distinct indigenous iconography. The
Designated List below also subsumes those categories of Moche objects
from the Sipan Archaeological Region of Peru for which emergency import
restrictions have been in place since 1990. With publication of the
Designated List below, protection of the Sipan material continues
without interruption.
The list is divided into seven categories of objects:
I. Pre-Columbian Textiles
II. Pre-Columbian Metals
III. Pre-Columbian Ceramics
IV. Pre-Columbian Lithics
V. Pre-Columbian Perishable Remains
VI. Pre-Columbian Human Remains
VII. Ethnological Objects
A. Objects Directly Related to the Pre-Columbian Past
B. Objects Used for Religious Evangelism Among Indigenous
Peoples
What follows immediately is a chart of chronological periods and
cultural classifications currently widely used for identifying
archaeological remains in Peru. All dates are approximate.
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Rowe Lumbreras
----------------------------------------------------------------------------------------------------------------
1440-1532 A.D...................... Late Horizon............... Inca Empire.
1100-1440 A.D...................... Late Intermediate Period... Regional states and kingdoms.
600-1100 A.D....................... Middle Horizon............. Huari Empire.
200 B.C.-600 A.D................... Early Intermediate Period.. Regional Cultures.
1000-200 B.C....................... Early Horizon.............. Middle and Late Formative.
1700-1000 B.C...................... Initial Period............. Early Formative.
2500-1800 B.C...................... Late Pre-ceramic........... Late Archaic.
4500-2500 B.C...................... Middle Pre-ceramic......... Middle Archaic.
6000-4500 B.C...................... Early Pre-ceramic.......... Early Archaic.
12000-6000 B.C..................... Early Pre-ceramic.......... Hunter-Gatherers.
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The following Designated List is representational and may be
amended as appropriate.
I. Pre-Columbian Textiles
Textiles representing these principal cultures and main classes of
objects:
A. Chimu
Pillow--Piece of cloth sewn into a bag shape and stuffed with
cotton of vegetal fibers. Generally the cloth is made in tapestry
technique. 60 cm. x 40 cm.
Painted Cloth--Flat cloth of cotton on which designs are painted.
Range between 20 cm. and 6.1 m.
Headdress--Headdresses are usually made of feathers, especially
white, green, and dark brown, which are attached to cloth and fitted to
a cane or basketry frame. Feathers on the upper part are arranged to
stand upright.
Feather Cloth--Cloth decorated with bird feathers, especially
panels and tunics. They vary in shape and size; generally they depict
geometric motif and volutes. Vary from 20 cm.--3 m. in length, and may
be up to 1.5 m. in width.
Panels--Chimu panels may be of two types: tapestry weave or plain-
weave cotton. Isolated anthropomorphic designs predominate and may be
associated with zoomorphic motifs. Vary from 20 cm. x 20 cm. to 2.0 m.
x 1.8 m.
Belts and Sashes--Generally made in tapestry technique, and
predominantly of red, white, ocher, and black. As with other Chimu
textiles, they generally depict human figures with rayed headdresses.
Up to 2.20 m. in length.
B. Chancay
Loom--Looms are commonly found in Chancay culture, sometimes with
pieces of the textile still on the loom. Often these pieces of cloth
show varied techniques and are referred to as ``samples.'' 50 cm. x 20
cm.
Loincloth--Triangular panels of cloth with tapestry woven borders.
Dolls--Three dimensional human figures stuffed with vegetal fiber
to which hair and other decorations are added. Sometimes they depict
lone females; in other cases they are arranged in groups. Most
important, the eyes are woven in tapestry technique; in fakes, they
have embroidered features. Usually 20 cm. tall and 8 cm. wide.
False Head--In Chancay culture, false heads are made on a cotton of
vegetal fiber cushion covered with plain-weave cloth, decorated with
shells, beads, metal, wood, or painting to depict facial features. They
sometimes have real hair. Usually 30 cm. x 35 cm.
Unku/Tunic--Varied sizes and styles. Some are in plain weave,
others in gauze, still others are in tapestry technique or brocade.
They are recognized by their iconography, which includes geometric
motifs, birds, fish, plants, and human figures. Miniatures are tiny;
regular size examples are about 50 cm. x 50 cm.
Belt--Chancay belts are multicolored, with geometric motifs
rendered in tapestry technique. Sometimes the ends are finished in
faux-velour technique. 2 m. x 5 cm.
Panels--Chancay panels may be made in tapestry technique or may be
painted on plain weave cloth. In these latter cases, the panels may
depict fish,
[[Page 31715]]
parrots, monkeys, viszcachas, felines, foxes, and human figures. Vary
in size from miniatures to 4 m. x 2 m.
Standards--Chancay standards are supported on a frame of straight
reeds covered with cotton cloth which is painted in anthropomorphic
designs in ochers and black. Sometimes they have a handle. 20 cm. x 20
cm.
Gauze--Pieces of cloth made in openwork gauze technique, with very
fine cotton threads. May have embroidered designs in the same thread
that depict birds or other flora and fauna. Usually 80 cm. x 80 cm.;
some are smaller.
C. Nazca
Three-Dimensional Cloth--Cloth made in three dimensions, using
needles. Of many and bright colors, knitted in long strips. Each figure
is approx. 5 cm. long x 2 cm. wide.
Unku/Tunic--These include miniature and regular-sized tunics. They
are generally of one color, mostly light brown. The neck edges, hem,
and fringes have multicolored geometric designs. Fringes end in woven
braids. Vary in size from miniatures up to approx. 1.5 m. x .8 m.
Bags--There are bags of many sizes, from miniatures to large ones,
generally with a narrow opening and a wide pouch. Some are decorated
with fringe. Their iconography resembles the unku (tunic), stylized
designs in yellow, red, and dark and light blue.
Sash--Nazca sashes are made on special looms. Their ends are
decorated with plied fringe.
Tie-Dye (Painted) Cloth--Most common are those made in the tie-dye
technique, in which the textile is knotted and tied before it is dyed,
so that when it is untied, there are negative images of diamonds,
squared, and concentric dots. Most common are orange, red, blue, green,
and yellow colors. Vary from approx. 20 cm. x 20 cm. to 2.0 m. x 1.8 m.
Patchwork Cloth--Variant of the Tie-Dye cloth, in which little
panels are made and later sewn together so that the resulting textile
includes rectangles of tie-dyed panels of different colors. The cloth
may have a decorative fringe. Vary from 20 cm. x 20 cm. to 2.0 m. x 1.8
m.
Wara/Loincloth--Generally made of a flat piece of cloth with
colorful borders depicting stylized geometric motifs. They terminate in
fringe. 50 cm. x 30 cm.
Fans--The frame is of vegetal fiber provided with twisted cord into
which feathers are inserted. Commonly two colors of feathers are
attached in this way, such as orange and green, or yellow and blue. 30
cm. x 20 cm.
D. Huari
Panel--Characterized by a complex and abstract iconography. Made in
tapestry technique with a range of colors, including browns, beiges,
yellows, reds, oranges, and greens. Vary from 20 cm. x 20 cm. to 2.0 m.
x 1.8 m.
Unku/tunic--Large with an abstract and geometric iconography.
Commonly the designs repeat in vertical bands. Generally these tunics
have a cotton warp and camelid fiber weft. Some are so finely woven
that there are 100 threads per cm \2\. Vary in size from miniatures up
to 1.5 m. x 80 cm.
Caps--Most common are the so-called ``four-corner hats'' made in a
faux-velour technique that results in a velvety texture. On the base
cloth, small tufts of brightly-colored wool are inserted.
Vincha/headband or sashes--These garments are made in tapestry
weave or faux-velour technique and depict geometric motifs.
Bags--Bags have an opening which is somewhat narrower than the
body, with designs depicting felines, camelids, human faces, and faces
with animal attributes.
E. Paracas
Esclavina/Small shoulder poncho--Paracas esclavinas are unique for
their decoration with brightly colored images in Paracas style such as
birds, flowers, animals, and human figures. Vary in size from
miniatures up to 60 cm. x 30 cm.
Mantle--Paracas mantles can be divided into five types, based on
their decoration. All are approximately 2.5 m. x 1.6 m.
a. Mantles with a plain field and woven borders;
b. Mantles with decorative (embroidered) borders and plain field;
c. Mantles with decorative (embroidered) borders and a decorative
stripe in the center field;
d. Mantles with embroidered borders and center field embroidered in
checkerboard-fashion;
e. Mantles with embroidered borders and alternating diagonals of
embroidered figures in the center field.
Gauzes--Paracas gauzes are made of one color, such as lilac,
yellow, red, or grey. They are generally rectangular and have a soft
and delicate texture. Approx. 1 m. x 1 m.
Panels--Paracas panels are generally of cloth and may have been
used for utilitarian purposes. They are generally undecorated. Vary
from 20 cm. x 20 cm. to 2 m. x 1.8 m.
Skirts--Paracas skirts are of two types: some are plain, made of
cotton with decoration reserved for the ends; there are others that are
elaborately embroidered with colorful images rendered in wool. These
often form sets with mantles and other garments. Skirts are rectangular
and very wide, with two fringed ties. 3 m. long and 70 cm. wide.
Wara/Loincloth--Made of cotton, not as large as skirts, and may
have embroidered edges.
Slings--Paracas slings are decorated in Cavernas style, made of
vegetal fiber, and are of small size, generally 1.5 m. x 5 cm.
Furs--There are numerous examples of animal skins reported from
Paracas contexts, including the skins of the fox, vizcacha, guinea pig.
Most are poorly preserved.
F. Moche
Bags--Moche bags are usually square, small, and have a short
handle. They are made in tapestry technique with brightly-woven
designs. Principal colors used are white, black, red, light blue, and
ocher.
Panels--Recognizable by their iconography, these tapestry-technique
panels may show people on balsa-reed rafts surrounded by a retinue.
They are rendered in a geometric fashion, and are outlined in black and
shown in profile. Scenes of marine life and fauna predominate. Vary
from 20 cm. x 20 cm. to 2 m. x 1.8 m.
Ornamental canes--Small canes are ``woven'' together in a twill
technique using colorful threads that depict anthropomorphic designs.
Approx. 10 cm. x 10 cm.
G. Lambayeque
Panels--Lambayeque panels are small, made in tapestry technique, of
cotton and wool. Vary from 20 cm. x 20 cm. to 2 m. x 1.8 m.
H. Inca
Sling--There are two types of Inca slings. Ceremonial ones are
oversize and elaborately decorated with geometric motifs, with long
fringes. The other type is smaller and utilitarian, almost always with
decoration only on the pouch and far ends. The decoration is geometric
and the slings have fringed ends.
Unku/tunic--Inca tunics are well-made and colorful, mostly in red,
olive green, black, and yellow. Decorative elements may be arrayed
checkerboard fashion and are found on the upper and lower part of the
garment. Vary in size from miniatures up to approx. 1.5 m. x 80 cm.
Bags--Recognized by their bright colors, they have an opening that
is narrower than the body and a wide pouch with long fringe and handle.
Vary
[[Page 31716]]
in size from miniatures up to 30 cm. x 20 cm.
Panels--Some are made in cotton using the double-cloth technique,
based on light brown and beige. Lines of geometrically-rendered llamas
predominate. Vary in size from 20 cm. x 20 cm. to 2 m. x 1.8 m.
Mantles--Inca mantles are of standard dimensions, sometime more
than a meter long, generally rectangular. They are multi-colored and
made of cotton warp and wool weft. Most common colors are dark red,
olive green, white, and black. Generally 2.5 m. x 1.6 m.
Kipu/quipu--Inca quipus (knotted string mnemonic devices) are made
of cotton and wool cords, sometimes with the two fibers plied together.
Rarely is their original color preserved, though sometime one sees
light blues and browns. Some are wrapped with colorful threads on the
ends of the cords. 80 cm. x 50 cm.
II. Pre-Columbian Metal Objects
A. Idols
Anthropomorphic or zoomorphic figures, some of which are hollow and
others which are solid. They may be of gold and silver, they may be
gilded, or of copper, or bronze. Sizes vary from 2 cm.--20 cm. in
height.
B. Small Plaques
Thin sheets of gold, silver, copper, or gilded copper, used to
cover the body and made in pieces. They have repousse or punched
designs on the edge and middle of the sheet. Average .6 cm in height.
C. Axes
Almost always T-shaped and solid. There are also axes in a
traditional axehead shape. May be of bronze or copper.
D. Mace Heads
These come in a great variety of shapes, including star-shaped,
flat, or of two or three levels. They may be made of copper or bronze.
Most have a central hole through which a wooden handle was affixed.
E. Musical Instruments
Trumpets: Wind instrument with a tubular body and flaring end,
fastened at the joint. May be of copper or bronze.
Bells: Of varying shapes and materials (including gold, silver,
copper, and silver-plated copper).
Conos: Instrument shaped from a sheet of hammered metal, with or
without a clapper. Can be of copper or silver. Up to .5 m. in height.
Rattles: Musical instrument with a central hold to accommodate a
handle. May be of copper or bronze. Vary from 6 cm.-25 cm. in height.
Jingle Bells: Spherical bells with an opening on the lower part and
a handle on the upper part so they can be suspended from a sash or
other garment. They contain a small stone or a little ball of metal.
The handles may be decorated. Jingle bells may decorate another object,
such as rhythm sticks, and may be of gold, silver, or bronze. Used in
all pre-Columbian cultures of Peru.
Chalchachas: Instruments shaped like a bivalve with repousse
decoration. Made of copper.
Quenas (flutes): Tubular instruments, generally of silver, with
perforations to vary the tone.
F. Knives
Knives vary depending on their provenance. They can have little or
no decoration and can be of different metals or made of two metals. The
best known are the tumis from the Sican culture, which have a straight
or trapezoidal handle and a half-moon blade. The solid handle may have
carved or stamped designs. Generally made of gold, silver, or copper.
In ceremonial examples, the blade and upper part may depict an
anthropomorphic figure standing or seated, or simply a face or mask
with an elaborate headdress, earspools, and inset semi-precious stones.
Tumi handles can be triangular, rectangular, or trapezoidal, and blades
can be ovaloid or shaped like a half-moon.
G. Pins
With a straight shaft and pointed end, pins can be flat or
cylindrical in cross-section. Most are hammered, and some are hollow.
They can be of gold, silver, copper, bronze, gold-plated silver or may
be made of two metals. Some pins are zoomorphic; others have floral
images, and still others depict fish. Some have a round head; others
have a flat, circular head; still others have the shape of a half-moon.
There are hollow-headed rattle pins; others have solid anthropomorphic
images. Most are up to 50 cm. in length, with heads that are up to 10
cm. in diameter. The small pins are about 5 cm. in length.
H. Vessels
There are a variety of metal vessels; they may be made of gold,
silver, gilded silver, gilded copper, silver-covered copper, and
bronze. There are miniatures, as well as full-size vessels. Such
vessels are known from all cultures. Forms include beakers, bowls, open
plates, globular vessels, and stirrup-spout bottles. The exact form and
surface decoration varies from culture to culture. Shapes include
beakers, bowls, and plates. Average .5 m.-.3 m. in height.
I. [Reserved]
J. Masks
May be made of gold, silver, gilded silver, copper, gilded copper,
silver-covered copper, or may be made of two metals. They vary greatly
in shape and design. The best known examples come from the following
cultures: Moche, Sican, Chimu, Huari, Inca, Nazca, and Chincha. The
northern coast examples often have insets of shell, precious or semi-
precious stones, and may have plant resins to depict the eyes and
teeth. Almost all examples that have not been cleaned have a surface
coloring of red cinnabar. Examples from Sican measure up to 49 cm. in
width by 29 cm. in height. Miniature examples can measure 7 cm. x 5
cm. Miniature masks are also used as decorations on other objects.
Copper examples generally show heavy oxidation.
K. Crowns
Thin or thick sheets of metal made to encircle the head. They may
be of silver, gold, copper, gilded silver, silver-covered copper, or
may be made of two metals. Some examples have a curved central part,
and may be decorated with pieces of metal and real or artificial
feathers that are attached with small clamps. Found in all cultures.
L. Penachos (Stylized Metal Feathers)
Stylized metal feathers used to decorate crowns. May be made of
gold, silver, copper, or silver-covered copper.
M. Tocados (Headdresses)
Headdress ornaments which may be simple or complex. They may be
made of one part, or may include many pieces. Found in all cultures.
They may take the form of crowns, diadems, or small crowns. They may
have two stylized feathers to decorate the crown and to hold it to the
hair (especially the Chimu examples). Paracas examples generally have
rayed appendages, with pierced disks suspended from the ends of the
rays.
N. Turbans
Long pieces of cloth that are wrapped around the head. Metal
ornaments may be sewn on turbans. Found in all cultures; the metal
decorations and the cloth vary from culture to culture.
O. Spoons
Utilitarian object of gold, silver, or copper.
[[Page 31717]]
P. Lime Spatulas
Miniature spatula: a straight handle has a slightly spoon-shaped
end. The handle may have an anthropomorphic figure. Made of gold,
silver, or copper.
Q. Ear Spools
Ear spools are generally made of a large cylinder which fits
through the earlobe and an even larger disk or decorative sheet on one
side. The disk may be decorated with repousse, stamped, or engraved
designs, or may have inset stone or shell. May be made of gold, silver,
copper, or made of two metals. Ear spools are found in all cultures.
The largest measure up to 15 cm. height; typical diameter: 5 cm.-14 cm.
R. Nose Ornaments
Of varied shapes, nose ornaments can be as simple as a straight
tube or as complex as a flat sheet with repousse design. In the upper
part, there are two points to attach the ornament to the septum. They
may be of gold, silver, or copper or may be made of two metals.
S. Earrings
Decoration to be suspended from the earlobes.
T. Rings
Simple bands with or without designs. Some are two bands united by
filigree spirals. Some have inset stones. May be of silver, gold,
copper, or alloys.
U. Bracelets
Bracelets are made of sheets of metal with a straight or slightly
trapezoidal shape, with stamped or repousse designs. Some are simple,
narrow bands. Found in all cultures and with varied designs. May be of
gold, silver, bronze, or alloys of copper. Generally 4 cm.-14 cm. in
width.
V. Necklaces
Necklaces are made of beads and/or small carved beads. May be of
shell, bone, stone, gold, silver, copper, or bronze. The beads are of
varied shapes. All beads have two lateral perforations to hold the
cord.
W. Tweezers
Made in one piece, with two identical ends and a flexed central
handle. They are of varied shapes, including triangular, trapezoidal,
and ovaloid. The middle of the handle may have a hole so the tweezers
can be suspended from a cord.
X. Feather Carrier
Conical objects with a pointed, hollow end, into which feathers,
llama skin, or monkey tails are inserted and held in place with tar.
They may be made of gold, silver, or gilded or silver-plated copper.
III. Pre-Columbian Ceramics
A. Chavin
Date: 1200-200 B.C.
Characteristics
Decoration: A grey-black color. Incised, modeled, and high and low-
relief are combined to work out designs in grays and browns. The
surface may also juxtapose polishing and matte finish in different
design zones.
Forms: Bottles, plates, and bowls.
Size: 5 cm.-30 cm.
Identifying: Characteristic traits of Cupisnique and Chavin
ceramics include: globular body with a flat base and stirrup spout;
thick neck with an obvious and everted lip. Chavin style also includes
long-necked bottles, bowls with flaring walls, and highly-polished
relief-decorated surfaces.
Styles: Chavin influence is seen in Cupisnique, Chongoyape,
Poemape, Tembladera, Patapo, and Chilete.
B. Vicus
Date: 900 B.C.-A.D. 500
Characteristics
Decoration: Geometric designs in white on red, made using negative
technique. There are also monochrome examples.
Forms: Anthropomorphic, zoomorphic and plant-shaped vessels. Some
have a double body linked by a tube or common opening.
Size: 30 cm.-40 cm. tall.
C. Viru or Gallinazo
Characteristics
Decoration: Negative technique over orange background.
Forms: Faced anthropomorphic and zoomorphic vessels, face bottles
for daily use in dwellings, ``cancheros'' (type of pot without a neck
and with a horn-shaped handle).
Size: Up to 15 cm. high.
Identifying: The surface is basically orange; the vessels have a
truncated spout, an arched bridge (like a tube) as handle, and
geometric symbols in negative technique (concentric circles, frets and
wavy lines). When the vessels represent a face, the eyes are like
``coffee beans,'' applied on the surface and with a transverse cut.
D. Pucara
Date: 300 B.C.-300 A.D.
Characteristics
Decoration: Slip-painted and incised. Modeled elements include
stylized felines and camelids, along with an anthropomorphic image
characteristically depicted with a staff in each hand. Vessels are
typically decorated in yellows, black, and white on the red background
of the vessel. Designs are characteristically outlined by incision.
There may be modeled decoration, such as feline heads, attached to the
vessels.
Shapes: Tall bowls with annular ring bases predominate, along with
vessels that depict anthropomorphic images.
Size: Bowls are up to 20 cm. in diameter and 20 cm. in height.
E. Paracas
Date: Developed around 200 B.C.
Characteristics
Vessels are typically incised, with post-fired resin painting on a
black background.
Size: 10 cm.-15 cm. high
F. Nazca
Date: A.D. 100-600.
Characteristics
Color: Typically very colorful, with a range of slips including
cream, black, red, violet, orange, gray, all in a range of tones.
Slip: Background slip is generally cream or orange.
Shapes: Cups, bowls, beakers, plates, double-spout-and-bridge
bottles, anthropomorphic figures, and musical instruments.
Decoration: Realistic drawings of fantastic creatures, including
the ``Flying God.'' In late Nazca, bottles are broader and flatter and
the designs are arrayed in broad bands. Typically have decorations of
trophy heads, geometric motifs, and painted female faces.
Size: 5 cm.--20 cm.
G. Recuay
Date: A.D. 100-700.
Characteristics
Slip: Both positive and negative slip-painting is found, generally
in colors of black, cream and red.
Shapes: Sculptural, especially ceremonial jars known as ``Paccha''
which have an elaborate outlet to serve a liquid.
Decoration: Usually show groups of religious or mythical
personages.
Size: 20 cm.--35 cm. in height.
H. Pashash
Date: A.D. 1-600.
[[Page 31718]]
Characteristics
Decoration: Positive decoration in black, red, and orange on a
creamy-white background. Some show negative painting.
Shapes: Anthropomorphic vessels, bottles in the form of snakes,
bowls with annular base, and large vessels with lids.
Size: The anthropomorphic vessels are up to 20 cm. in height,
serpent bottles are around 25 cm. wide x 10 cm. tall, and lidded
vessels are more than 30 cm. in height.
Motifs: The decorations are rendered in positive or negative
painting in zones that depict profile-face images of zoomorphic
figures, serpents, or worms, seen from above and with trapezoidal
heads.
I. Cajamarca
Date: A.D. 500-900.
Characteristics
Decoration: Pre-fired slip painting with geometric designs,
including stepped triangles, circles, lines, dots, and rows of volutes.
They may include stylized birds, felines, camelids, batrachians, and
serpents. Spiral figures may include a step-fret motif in the base of
the bowls.
Shapes: Pedestal base bowls, tripod bowls, bottles with annular
ring base, goblets, spoons with modeled handles, bowls with carinated
edges.
J. Moche
Date: A.D. 200-700.
Characteristics
Forms: Stirrup-spout vessels, vessels in the shape of humans,
animals, or plants.
Colors: Generally red and white.
Manufacture: Often mold-made.
Size: 15 cm.--25 cm. in height.
Decoration: Wide range of images showing scenes of real life or
mythical scenes depicting gods, warriors, and other images.
K. Tiahuanaco
Date: A.D. 200-700.
Characteristics
Decoration: Pre-fired slip painting on a highly polished surface.
Background is generally a red-orange, with depictions of human, animal,
and geometric images, generally outlined in black and white lines.
Shapes: Plates, cups, jars, beakers, open-backed incense burners on
a flat base.
L. Lima
Date: A.D. 200-700.
Characteristics
Decoration: Pre-fired slip painting with interlocking fish and
snake designs, geometric motifs, including zig-zags, lines, circles,
and dots.
Shapes: Breast-shaped bottles, cups, plates, bowls, and cook pots.
Styles: Related to Playa Grande, Nieveria, and Pachacamac styles.
M. Huari
Date: A.D. 500-1000.
Characteristics
Colors: Orange, cream, violet, white, black, and red.
Motifs: Anthropomorphic, zoomorphic, and plant shapes, both
stylized and realistic. In Pachacamac style one finds vessels with a
globular body and long, conical neck. In Atarco style, there is slip
painting that retains Nazca motifs, especially in the full-body felines
shown running.
Slip: Background slip is commonly cream, red, or black.
Styles: Related to Vinaque, Atarco, Pachacamac, Qosqopa, Robles
Moqo, Conchopata, and Caquipampa styles.
Size: Most are around 25 cm. tall. Robles Moqo urns may be up to 1
m. in height.
N. Santa
Date: Derived from Huari style, around A.D. 800.
Characteristics
Decoration: Slip painted with figures and designs in black and
white on a red background. There are also face-neck jars.
Shapes: Effigy vessels, face-neck jars, double-body vessels.
Sizes: 12 cm.--20 cm. tall.
Shapes: Jars have a globular body and face on the neck. The border
may have black and white checkerboard. The body sometimes takes the
shape of a stylized llama head. Common are white lines dotted with
black. Double-body vessels generally have an anthropomorphic image on
the front vessel, and a plain back vessel.
O. Chancay
Date: A.D. 1000-1300.
Characteristics
Treatment: Rubbed surface.
Slip: White or cream with black or dark brown designs.
Molds: Molds are commonly used, especially for the anthropomorphic
figures called ``cuchimilcos,'' which represent naked male and female
figures with short arms stretched to the sides.
Size: 3 cm.--1 m.
P. Ica-Chincha
Date: Began to be developed in A.D. 1200.
Characteristics
Decoration: Polychrome painting in black and white on red.
Designs: Geometric motifs combined with fish and birds.
Shapes: Bottles with globular bodies and tall necks and with
flaring rims. Cups and pots.
Size: 5 cm.--30 cm. high.
Q. Chimu
Date: A.D. 900-1500.
Characteristics
Slip: Monochrome. Usually black or red.
Shapes: Varied shapes. Commonly made in molds. They may represent
fish, birds, animals, fruit, people, and architectural forms. One sees
globular bodies with a stirrup spout and a small bird or monkey at the
base of the neck.
Size: Between 30 cm.--40 cm. in height.
R. Lambayeque
Date: A.D. 700-1100.
Characteristics
Color: Generally black; a few are cream with red decoration.
Shapes: Double spout and bridge vessels on a pedestal base are
common. At the base of the spout one sees modeled heads and the bridge
also often has modeled heads.
Size: 15 cm.--25 cm. in height.
S. Inca
Date: A.D. 1300-1500.
Characteristics
Decoration: Slip painted in black, red, white, yellow, and orange.
Designs: Geometric designs (rhomboids and triangles) and stylized
bees, butterflies, and animals.
Sizes: 1 cm. to 1.5 m. in height.
IV. Pre-Columbian Lithics
A. Chipped Stone: Projectile Points
Paijan Type Points
Size: 8 cm.--18 cm.
Shape: Triangular or heart-shaped.
Color: Generally reddish, orange, or yellow. Can be made of quartz.
Leaf-Shaped Points
Size: 2.5 cm.--15 cm.
Shape: Leaf-shaped. Can be ovaloid or lanceolate.
Color: Generally bright reds, yellows, ochers, quartz crystals,
milky whites, greens and blacks.
[[Page 31719]]
Paracas Type Points
Size: .3 cm.--25 cm.
Shape: Triangular and lanceolate. Show marks of pressure-flaking.
Often they are broken.
Color: Generally black.
Chivateros-Type Blanks
Size: .8 cm.--18 cm.
Shape: Concave indentations on the surface from working.
Color: Greens, reds, and yellows.
B. Polished Stone
Bowl--Vessels of dark colored-stone, sometimes streaked. They have
a highly polished, very smooth surface. Some show external carved
decoration. Diameters range from 12 cm--55 cm.
Cups--Also vessels of dark-colored stone. Generally have flaring
sides. Typical of the Late Horizon. They are highly polished and may
have external carved designs or may be in the shape of heads. 18 cm.--
28 cm. in height.
Conopas--Small vessels in the form of camelids with a hollow
opening on the back. They are black to greenish-black and highly
polished. .8 cm.--16 cm. in length.
Idols--Small anthropomorphic figurines, frequently found in Middle
Horizon contexts. The almond-shaped eyes with tear-bands are
characteristic of the style. Larger examples tend to be of lighter-
colored stone while the smaller ones are of dark stones. 12 cm.--28 cm.
in height.
Mace head--Varying shapes, most commonly are doughnut-shaped or
star-shaped heads, generally associated with Late Intermediate Period
and Inca cultures. Commonly black, gray, or white, .8 cm.--20 cm. in
diameter.
Metal-working hammer--Elongated shapes, frequently with one flat
surface; highly polished. Generally of dark-colored stone, 3 cm.--12
cm.
C. Carved Material
Tenon head--These heads have an anthropomorphic face, prominent
lips, and enormous noses. Some, especially those carved of diorite,
have snake-like traits. The carved surface is highly polished.
Tablets--Tablets with high-relief design. The upper surface has a
patina. They range from 20 cm. to more than 1 m. in length.
V. Pre-Columbian Perishable Remains
A. Wood
Keros (Beakers)--The most common form is a bell-shaped beaker with
a flat base, though some have a pedestal like a goblet. Decoration
varies with the period:
Pre-Inca: Very rare, they have straight sides and incised or high-
relief decoration. Some have inset shells.
Inca: Generally they are incised with geometric designs on the
entire exterior.
Colonial Inca: Lacquer painted on the exterior to depict scenes of
daily life, nature, and war.
Staffs--Objects of ritual or ceremonial use made of a single piece
of wood. They can be distinguished on the basis of two or three of the
following traits:
On the lower third, the staff may have a metal decoration.
The body itself is cylindrical and of variable length.
The upper third may have decorations, including inset shell, stone,
or metal. Some staffs function as rattles, and in these cases, the
rattle is in the upper part.
Carvings--Worked blocks of wood, such as wooden columns (orcones)
to support the roofs of houses: Chincha, Chimu, and Chancay cultures.
Individuals may be depicted standing or seated on a pedestal. In the
upper part there is a notch to support the beams, which generally has a
face, sometimes painted, at the base of the notch. Their length varies,
but they are generally at least a meter or more.
Box--Small lidded boxes, carved of two pieces of wood. Generally
the outer surface of box and lid are carved in relief. Chimu-Inca
cultures. They measure approximately 20 cm. x 10 cm.
Mirror--Wooden supports for a reflective surface of polished
anthracite or pyrite. In some cases the upper part of backs of mirrors
are worked in relief or have inset of shell. Moche culture.
Paddle and rudder--Large carvings made of a single piece of wood.
Paddles have three parts: the blade and the handle (sometimes
decorated), and an upper decorated part, which can have metal plaques
or decorative painting. Rudders have two parts: the blade and a handle
which may be carved in relief. Chincha culture. Paddles can be 2.30 m.
in length and rudders are up to 1.4 m.
Utensils--Bowls and spoons made of wood decorated with zoomorphic
or anthropomorphic motifs.
Musical instruments--Trumpets and whistles. Trumpets can be up to
1.2 m. long and are generally decorated on the upper third of the
instrument. Whistles vary a great deal from the undecorated to those
decorated with human forms. Moche, Huari, and Inca cultures.
B. Bone
Worked bone--Most interesting are Chavin pieces with incised
decorations. The bones are generally the long bones of mammals. They
vary from 10 cm.-25 cm. in length.
Balance weights--Flat rectangles of bone about 10 cm. in length.
Chincha culture.
Musical instruments--Quenas (flutes) and antaras (panpipes) in
various shapes. Paracas, Chincha, and Ancon cultures.
C. Gourds
Vessels--Bowls, pots, and holders for lime (for coca chewing). Most
interesting are those which are carved or pyroengraved. Produced from
the Preceramic onward.
Musical instruments--Ocarinas, small flutes, and whistles. Inca
examples may have incised decoration, or decoration with cords and
feathers.
D. Cane
Musical instruments--Flutes (especially in Chancay culture),
panpipes, and whistles. Flutes are often pyroengraved. Panpipes can
have one or two tiers of pipes, which may be lashed together with
colored thread. Nazca culture.
E. Straw
Weaving baskets--Basketry over a cane armature, in the shape of a
lidded box. Sometimes the basketry is made of several colors of fiber
to work out geometric designs. Some still hold their original contents:
needles, spindle whorls, spindles, balls of thread, loose thread, etc.
Chancay culture.
F. Shell
Musical instruments--Marine shells (Strombus galeatus, Malea
ringens, etc.), some, especially those from the Formative Period, with
incised decoration.
Jewelry--Small beads and charms worked of shell, chiefly Spondylus
princeps, used mainly in necklaces and pectorals. Moche, Chimu, and
Inca cultures.
VI. Pre-Columbian Human Remains
The human remains included in this listing demonstrate
modifications of the remains due to ritualistic practices or other
intentional treatment of the deceased.
A. Mummies
Peruvian mummies were formed by natural mummification due to the
conditions of burial; they have generally not been eviscerated. Usually
found in flexed position, with extremities tied together, resulting in
a fetal position. In many cases the cords used to tie the body in this
position are preserved.
B. Deformed Skulls
Many ancient Peruvian cultures practiced cranial deformation. Such
[[Page 31720]]
skulls are easily recognized by their unnatural shapes.
C. Skulls Displaying Trepanation
Trepanation is an operation performed on a skull; the resulting
cuts, easily visible on a bare skull, take various forms. Cuts may be
less easily distinguished if skin and hair are present:
Principal Techniques
a. Straight cuts: these cuts are pointed at the ends and wider in
the center. Openings made this way have a polygonal shape.
b. Cylindrical-conical openings: the openings form a discontinuous
line. The resulting opening has a serrated edge.
c. Circular: generally made by a file. The resulting hole is round
or elliptical, with beveled or straight edges. This is the most common
form of trepanation.
D. Pre-Columbian Trophy Heads
Trophy heads can be identified by the hole made in the forehead to
accommodate a carrying cord. When the skin is intact, the eyes and the
mouth are held shut with cactus thorns. Finally, the occiput is missing
since that is how the brain was removed when the trophy head was
prepared.
E. Shrunken Trophy Heads From the Amazon
These heads have had the bones removed and then have been cured to
shrink them. They are recognizable because they conserve all the traits
of the original skin, including hair and hair follicles. The mouth is
sewn shut and generally there are carrying cords attached. There may be
an obvious seam to repair the cuts made when the skin was removed from
the skull. Finally, the skin is thick (up to 2.5 mm.) and has a dark
color. Trophy heads vary between 9.5 cm. and 15.5 cm. in height.
F. Tattoos
Tattooing in pre-Columbian Peru was practiced mainly on the wrists.
Most common are geometric designs, including bands of triangles and
rhomboids of a bluish color.
G. False Shrunken Heads
False shrunken heads can be recognized because they are made of the
skin of a mammal, with some of the fur left where the human hair would
be. The skin is first smoked, then pressed into a mold to give it a
face-like shape. The eyes, nose, mouth and ears are simple bumps
without real holes. Further, the skin is very thin and yellowish in
color. Often the ``heads'' have eyebrows and moustaches formed by
leaving some of the animal hair, but these features are grotesque
because they appear to grow upside down.
VII. Ethnological Objects
A. Objects directly related to the pre-Columbian past, whose pre-
Columbian design and function are maintained with some Colonial
modifications or additions in technique and/or iconography.
Colonial Indigenous Textiles
Predominant materials: cotton and wool.
Description: These textiles are characterized by the cut of the
cloth, with the four borders or selvages finished on the same loom.
Clothes are untailored and made from smaller pieces of convenient sizes
which were then sewn together. Colonial indigenous textiles of the
period are differentiated from pre-Columbian textiles primarily by
their decoration: western motifs such as lions, heraldic emblems, and
Spanish personages are incorporated into the designs; sometimes fibers
distinct from cotton or wool (threads of silver, gold, and silk) are
woven into the cloth; and the colors tend to be more vivid because the
fabrics were made more recently. Another important characteristic of
the clothing is the presence of tocapus or horizontal bands of small
squares with anthropomorphic, zoomorphic, phytomorphic and geometric
ideographs and designs. Characteristic textiles include:
Panels: Rectangular or square pieces of various sizes.
Anacus: Untailored woman's dress consisting of two or three long
horizontal pieces of cloth sewn together that was wound around the body
and held in place with ``tupus'' (pins).
Unku/Tunic: Man's shirt with an opening for the head. Sometimes has
sleeves.
Lliclla/Shoulder Mantle: Rectangular piece of cloth that women put
over their shoulders and held in place by a tupu; standard size:
40'' x 45''. Generally has a tripartite design based on contrasting
panels that alternate bands with decoration and bands with solid
colors.
Chumpi/Belt: A woven belt, generally using tapestry technique.
Tupus
Material: Silver, gilded silver, copper, bronze. May have inlays of
precious or semi-precious stones.
Description: Tupus were used to hold in place llicllas and ancus.
They are pins with a round or elliptical head, with piercing, repousse,
and incised decorations. The difference between pre-Columbian and
ethnological tupus can be seen in the introduction of Western designs,
for example bi-frontal eagles and heraldic motifs.
Keros
Material: wood.
Description: The most common form is a beakerlike cup with
truncated base. After the Conquest, keros started to be decorated with
pictorial scenes. The most frequently used techniques include incision,
inlaying pigments in wood, and painting. Ideography includes geometric
designs, figures under a rainbow (an Inca symbol), ceremonial rituals,
scenes of war, and agricultural scenes. Sometimes are in the form of
human or zoomorphic heads.
Cochas or Cocchas
Material: ceramic.
Description: Ceremonial vessels with two or more concentric
interior compartments which are linked. Often decorated with volutes
representing reptiles.
Aribalos
Material: ceramic.
Description: The post-Conquest aribalos have a flat base, often
using a glaze for finishing, and the decoration includes Inca and
Hispanic motifs.
Pacchas
Material: Stone, ceramic.
Description: One of the characteristics of pacchas is that they
have a drain which is used to sprinkle an offering on the ground. They
have pictorial or sculpted relief decorations symbolizing the benefits
hoped for from the ritual.
B. Objects that were used for religious evangelism among indigenous
peoples.
In Colonial paintings and sculptures Western religious themes were
reinterpreted by indigenous and mestizo artists who added their own
images and other characteristics to create a distinct iconography.
Specific types of objects used for religious evangelism during the
Colonial period include the following:
Sculpture
Types of statues include:
A three-dimensional sculpted image: In the Peruvian Colonial period
these were made of maguey (a soft wood) and occasionally of cedar or
walnut.
Images made of a dough composed of sawdust, glue and plaster: After
they are sculpted, figures are dressed with cloth dipped in plaster.
Images to be dressed: These are wooden frames resembling
mannequins, with only the head and arms sculpted in wood (cedar or
maguey). The images
[[Page 31721]]
are dressed with embroidered clothes and jewelry. Frequently other
elements were added, such as teeth and false eyelashes, wigs of real
hair, eyes of colored glass, and palates made of glass.
Paintings
Catholic priests provided indigenous and mestizo artists with
canvases and reproductions of Western works of art, which the artists
then ``interpreted'' with their own images and other indigenous
characteristics. These may include symbolically associating Christian
religious figures with indigenous divinities, or rendering the figures
with Andean facial characteristics or in traditional Andean costume. In
addition, each church, convent, monastery, and town venerated an effigy
of its patron or tutelar saint, some of them native to Peru.
Retables
Retables (retablos) are architectonic structures made of stone,
wood, or other material that are placed behind the altar and include
attached paintings, sculptures or other religious objects.
Liturgical Objects
Objects Used for Mass Ritual: Chalices, cibaries, candelabras,
vials for christening or consecrated oil, reliquaries, vessels for wine
and water, incense burners, patens, monstrances, pelicans and
crucifixes. Made out of silver, gold or gilded silver, often inlaid
with pearls or precious stones. Techniques: casting, engraving,
piercing, repousse, filigree.
Fixtures for sculpted images: Areoles, crowns, scepters, halo,
halos in the form of rays, and books carried by religious scholars and
founders of religious orders.
Ecclesiastical vestments: Some ecclesiastical vestments were
commissioned by indigenous individuals or communities for the
celebrations of their patron saint and thus are part of the religious
legacy of a particular town. In such cases, the vestment has the name
of the donor and of the town or church as well as the date.
Votive Offerings: These are representations of miracles or favors
received from a particular saint. They can be made of different
materials, usually metal or wood, and come in a variety of forms
according to the type of favor received, usually representing parts of
the human body in reference to the organ healed or agricultural
products in recognition of a good harvest or increase in a herd.
Inapplicability of Notice and Delayed Effective Date
Because the amendment to the Customs Regulations contained in this
document imposing import restrictions on the above-listed Peruvian
cultural property is being made in response to a bilateral agreement
entered into in furtherance of the foreign affairs interests of the
United States, pursuant to section 553(a)(1) of the Administrative
Procedure Act, no notice of proposed rulemaking or public procedure is
necessary. For the same reason, a delayed effective date is not
required.
Regulatory Flexibility Act
Because no notice of proposed rulemaking is required, the
provisions of the Regulatory Flexibility Act (5 U.S.C. 601 et seq.) do
not apply. Accordingly, this final rule is not subject to the
regulatory analysis or other requirements of 5 U.S.C. 603 and 604.
Executive Order 12866
This amendment does not meet the criteria of a ``significant
regulatory action'' as described in E.O. 12866.
Drafting Information
The principal author of this document was Peter T. Lynch,
Regulations Branch, Office of Regulations and Rulings, U.S. Customs
Service. However, personnel from other offices participated in its
development.
List of Subjects in 19 CFR Part 12
Customs duties and inspections, Imports, Cultural property.
Amendment to the Regulations
Accordingly, Part 12 of the Customs Regulations (19 CFR Part 12) is
amended as set forth below:
PART 12--[AMENDED]
1. The general authority and specific authority citation for Part
12, in part, continue to read as follows:
Authority: 5 U.S.C. 301, 19 U.S.C. 66, 1202 (General Note 20,
Harmonized Tariff Schedule of the United States (HTSUS)), 1624;
* * * * *
Sections 12.104 through 12.104i also issued under 19 U.S.C.
2612;
* * * * *
Sec. 12.104g [Amended]
2. In Sec. 12.104g, paragraph (a), the list of agreements imposing
import restrictions on described articles of cultural property of State
Parties is amended by adding ``Peru'' in appropriate alphabetical order
under the column headed ``State party'', the description
``Archaeological artifacts and ethnological material from Peru'' under
the column headed ``Cultural property'', and the reference ``T.D. 97--
50'' under the column headed ``T.D. No.''
3. In Sec. 12.104g, paragraph (b), the list of emergency actions
imposing import restrictions on described articles of cultural property
of State Parties is amended by removing the entry for ``Peru'' in its
entirety.
George J. Weise,
Commissioner of Customs.
Approved: June 5, 1997.
John P. Simpson,
Deputy Assistant Secretary of the Treasury.
[FR Doc. 97-15428 Filed 6-10-97; 8:45 am]
BILLING CODE 4820-02-P