Neck of Poporo (Lime Container) 300 – 700 Early Quimbaya This metal object is the neck (cuello in Spanish) of a larger container, a poporo (or juror in the Guajiro languge, Kuetand-tuky in Páez, and yoburo in Arhuaco).[1] For many centuries, people in the Andes have used poporos for holding lime powder, and this is an early example of one component of these objects. This neck likely would have been attached to poporo made of a gourd. To join the two parts, a person could have used pitch, a viscous and elastic substance that can be derived from different organic materials (Plazas 2016,

Neck of Poporo (Lime Container) 300 – 700 Early Quimbaya This metal object is the neck (cuello in Spanish) of a larger container, a poporo (or juror in the Guajiro languge, Kuetand-tuky in Páez, and yoburo in Arhuaco).[1] For many centuries, people in the Andes have used poporos for holding lime powder, and this is an early example of one component of these objects. This neck likely would have been attached to poporo made of a gourd. To join the two parts, a person could have used pitch, a viscous and elastic substance that can be derived from different organic materials (Plazas 2016, 266). Other examples of necks may have been attached by threading cord through perforations in the metal and joining this cord to the poporo body in some way. The neck consists of three registers and is symmetric on its vertical axis and partially symmetric on its horizontal. The bottom register, however, is taller and its greatest width is noticeably greater than that of the top register. In this first, top register, the neck is funnel-like, with a wider circumference at the very top that gradually narrows downward. The entire object is hollow, and the funnel is open at the bottom, so that it connects with the rest of the object’s interior. Second, there is a register with eight rounded shapes. The eight shapes are spaced evenly around the circumference: there are four centered on an upper row, and four centered on a lower row, with some overlap between the two rows. The shapes in the top row are larger and more rounded than those on the bottom row. Third, the bottom register gradually curves outward toward the base of the object. A wide band of low relief separates the middle and bottom registers; the object is wider above and below this band. Metalworkers made this object through very precise lost-wax casting. (For more details on this process, please see Metropolitan Museum of Art , a Quimbaya anthropomorphic bead.) The metal they cast for this object, which

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