the grand canyon of arizona-第32章

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　had　been　handed　down　from　generation　to　generation　as　heirlooms。　Often　in　these　old　specimens　the　red　figures　were　made　of　bayeta。　As　Mason　says：　〃The　word　'bayeta'　is　nothing　but　the　simple　Spanish　for　the　English　'baize'　and　is　spelled　'bayeta'　and　not　'ballets'　or　'valets。'〃　Formerly　bayeta　was　a　regular　article　of　commerce。　It　was　generally　sold　by　the　rod　and　not　by　the　pound。　Now；　however；　the　duty　is　so　high　that　its　importation　is　practically　prohibited。

This　bayeta　or　baize　was　unravelled　and　the　Indian　woman　often　retwisted　the　warp　to　make　it　firmer。　She　then　rewove　it　into　her　incomparable　blankets。

From　the　earliest　days　the　Navahos　have　been　expert　dyers；　their　colors　being　black；　brick…red；　russet；　blue；　yellow；　and　a　greenish　yellow　akin　to　an　old　gold　shade。

There　is　abundant　evidence　that　they　formerly　had　a　blue　dye；　but　indigo；　originally　introduced　probably　by　the　Mexicans；　has　superceded　this。　If　in　former　days　they　had　a　native　blue　or　yellow　they　must　of　necessity　have　had　a　green。　They　now　make　green　of　their　native　yellow　and　indigo；　the　latter　being　the　only　imported　dye　stuff　in　use　among　them。

To　make　the　black　dye　three　ingredients　were　used：　yellow　ochre；　pinion　gum　and　the　leaves　and　twigs　of　the　aromatic　sumac　（thus　aromatics）。　The　ochre　is　pulverized　and　roasted　until　it　becomes　a　light　brown；　when　it　is　removed　from　the　fire　and　mixed　with　an　equal　quantity　of　pinion　gum。　This　mixture　is　then　placed　on　the　fire　and　as　the　roasting　continues　it　first　becomes　mushy；　then　darker　as　it　dries　until　nothing　but　a　fine　black　powder　remains。　This　powder　is　called　〃keyh…batch。〃　In　the　meantime　the　sumac　leaves　and　twigs　are　being　boiled。　Five　or　six　hours　are　required　to　fully　extract　the　juices。　When　both　are　cooled　they　are　mixed　and　immediately　a　rich；　bluish…black　fluid　called　〃ele…gee…batch〃　is　formed。

For　yellow　dye　the　tops　of　a　flowering　weed　（Bigelovia　graveolens）　are　boiled　for　hours　until　the　liquid　assumes　a　deep　yellow　color。　As　soon　as　the　extraction　of　color　juices　is　complete　the　dyer　takes　some　native　alum　（almogen）　and　heats　it　over　the　fire。　When　it　becomes　pasty　she　generally　adds　it　to　the　boiling　concoction；　which　slowly　becomes　of　the　required　yellow　color；〃kayel…soly…batch。〃

The　brick　red　dye；　〃says…tozzie…batch；〃　is　extracted　from　the　bark　and　the　roots　of　the　sumac；　and　ground　alder　bark；　with　the　ashes　of　the　juniper　as　a　mordant。　She　now　immerses　the　wool　and　allows　it　to　remain　in　the　dye　for　half　an　hour　or　an　hour。

Whence　come　the　designs　incorporated　by　these　simple　weavers　into　their　blankets；　sashes　and　dresses？　In　this　as　in　basketry　and　pottery；　the　answer　is　found　in　nature。　Many　of　their　textile　designs　suggest　a　derivation　from　basketry　ornamentation；　which　originally　came　from　nature。　The　angular；　curveless　figures　of　interlying　plaits　predominate　and　the　principal　subjects　are　the　sameconventional　devices　representing　clouds；　stars；　lightning；　the　rainbow；　and　emblems　of　the　deities。　These　simple　forms　are　produced　in　endless　combination　and　often　in　brilliant；　kaleidoscopic　grouping；　sometimes　representing　broad　effects　of　scarlet；　black；　green；　yellow；　and　blue　upon　scarlet；　and　the　wide　ranges　of　color　skilfully　blended　upon　a　ground　of　white。　The　centre　of　the　fabric　is　frequently　occupied　with　tessellated　or　lozenge　patterns　of　multicolored　sides；　or　divided　into　panels　of　contrasting　colors；　in　which　different　designs　appear。　Some　display　symmetric　zigzags；　converging　and　spreading　throughout　their　length。　In　others　bands　of　high　color　are　defined　by　zones　of　neutral　tints；　or　parted　by　thin；　bright　lines　into　a　checkered　mosaic。　In　many　only　the　most　subdued　shades　appear。　Fine　effects　are　obtained　by　using　a　short　gray　wool　in　its　natural　state；　to　form　the　body　of　the　fabric　in　solid　color；　upon　which　figures　in　black；　white　and　red　are　introduced。　Sometimes　blankets　are　woven　in　narrow　stripes　of　black　and　deep　blue　with　borders　relieved　in　tinted　meanders　along　the　sides　and　ends；　or　a　central　figure　in　the　dark　body　with　the　design　repeated　in　a　diagonal　panel　at　each　corner。

The　greatest　charm　of　these　primitive　fabrics　is　the　unrestrained　freedom　of　the　weaver　in　her　treatment　of　primitive　conventions。　To　the　checkered　emblem　of　the　rainbow　she　adds　sweeping　rays　of　color；　typifying　sunbeams。　Below　the　many　angled　cloud　group　she　inserts　random　pencil　lines　of　rain；　or　she　often　softens　the　rigid　lines　signifying　lightning；　with　graceful　interlacing　and　shaded　tints。　Not　confining　herself　alone　to　these　traditional　devices；　she　often　creates　realistic　figures　of　common　objects　such　as　her　grass　brush；　wooden　weaving　fork；　a　stalk　of　corn；　a　bow；　an　arrow　or　a　plume　of　feathers　from　a　dancer's　mask。　Although　the　same　characteristic　styles　of　weaving　and　decoration　are　general；　none　of　the　larger　designs　are　ever　reproduced　with　exactness。　Every　fabric　carries　some　distinct　variation　or　suggestion　of　the　occasion　of　its　making。

Among　the　Navahos　the　women　invariably　do　the　weaving　though　in　the　past　a　few　men　were　experts　in　the　art。　Among　the　Pueblo　Indians　the　men　perform　this　work。　The　products　of　the　Pueblo　looms　are　readily　distinguishable　from　those　of　the　Navahos；　the　latter　having　far　out…distanced　the　Pueblos　in　the　excellence　of　their　work。　Only　among　the　Hopi；　are　blankets　made　that　in　any　way　resemble　the　work　of　the　Navahos。　Generally　a　Hopi　man　weaver　can　be　found　at　work　in　the　Hopi　House；　as　well　as　Navaho　women　weavers。

The　Hopi　to　this　day　preserve　the　custom　of　wearing　a　bridal　costume　completely　woven　out　of　cotton。　After　the　wedding　breakfast　the　groom's　father　〃takes　some　native　cotton　and；　running　through　the　village；　distributes　it　among　the　relations　and　friends　of　the　family。　They　pick　the　seeds　from　the　cotton　and　return　it。　A　few　days　later　a　crier　announces　from　the　roof　of　a　house　that　on　a　certain　day　the　cotton　for　the　bridal　costume　will　be　spun　in　the　kivas。〃　Here　the　friends　assemble　and　〃the　rasping　of　the　carding　combs　and　the　buzzing　of　the　primitive　spindles〃　are　heard　accompanied　by　singing；　joking　and　laughing　of　the　crowd。　This　cotton　is　then　woven　either　by　the　bridegroom　or　his　father　or　other　male　relation；　into　square　blankets；　one　measuring　about　60　by　72　inches；　the　other　about　50　by　60　inches；　also　a　sash　with　long　knotted　fringes　at　each　end。　When　woven　they　are　given　a　coating　of　wet　kaolin；　which　adds　to　their　whiteness。

This　preparation　of　garments　often　takes　several　weeks；　during　which　time　the　young　married　couple　reside　at　the　home　of　the　groom's　parents。　Now　the　bride；　with　considerable　simple　ceremony；　walks　with　one　of　the　robes　on；　and　the　other　in　a　reed　wrapper；　to　her　mother's　house　where；　unless　her　husband　has　prepared　a　separate　home　for　them；　they　continue　to　reside。　In　the　Field　Columbian　Museum；　Chicago；　is　a　fine　model　showing　the　young　bride　wearing　her　new　garment；　going　to　her　mother's　home。

In　their　ceremonial　dances；　the　Hopi　women　wear　cotton　blankets；　highly　embroidered　at　the　sides　and　edges　with　red；　green；　and　black　wool。　Fine　specimens　may　be　found　in　the　Hopi　House。　Similar　to　these　in　style；　though　long　and　narrow　in　shape；　are　the　ceremonial　kilts　or　sashes　of　the　men。　In　pictures　showing　the　march　of　the　Antelope　Priests　during　the　Hopi　Snake　Dance　these　beautiful　sashes　are　well　depicted。

In　addition　to　the　products　of　the　vertical　loom；　the　Navaho　and　Pueblo　women　weave　a　variety　of　smaller　articles　all　of　which　are　remarkable　for　their　strength；　durability　and　striking　designs。

In　weaving　sashes；　belts；　hair　bands；　garters；　etc。；　the　weaver　uses　a　〃heddle　frame〃　similar　to　those　found　in　Europe　and　New　England。　None　of　these　have　been　found　in　places　that　assure　us　of　their　use　before　the　Spanish　occupation；　so　we　conclude　that　they　were　introduced　by　the　conquistadores　or　the　early　colonists　about　350　years　ago。

The　Thlinkets　of　Alaska；　also；　are　good　weavers。　In　the　Fred　Harvey　collection　in　the　Hopi　House；　El　Tovar；　and　Albuquerque；　the　United　States　National　Museum　and　the　Museum　of　Princeton　University；　fine　collections　of　their　work　are　to　be　seen。　These　collections　generally　consist　of　cape　and　body　blankets　made　of　t