554 ANNUAL REPORT SMITHSONIAN INSTITUTION, 19 3 



religious practices. The patterned beadwork on leggings and tlie peculiar 

 cut of the moccasin last which is recurved at the toe end and expanded to 

 a button-shaped knob, as also the several styles of baskets shown, fully 

 illustrate the art and arts of the nomadic Apache. 



Plate 25 



Painted altar of tanned doeskin. Pueblo Indians of New Mexico. 



This example of southern Plains Indian art was collected from the 

 Pueblo Indians by Gov. W. F. M. Arny in 1877. It resembles in structure 

 and details of design, a psiinted symbol of Comanche origin. The painted 

 design of a buffalo is spread out on a tanned doeskin. A lozenge-shaped 

 figure represents the head, recurved diverging horns, several comblike, or 

 rakelike figures and painted triangles make up the design. A spurred 

 border in particular resembles the corresponding sacred device of the 

 southern Plains tribes, notably the Comanche. The design is applied with 

 sticks dipped in glue, which is well rubbed into the tanned skin. When it 

 hardens, the design is brought into relief. Cat. No. 11317, U.S.N.M, 



Plate 26 



Mexican and Pueblan textile designs. A woven serape and ceremonial kilts. 



Above: Designs incorporating the symbolism of the Hopi. This con- 

 sists of stepped triangles and of pendent parallel lines. This is the so- 

 called rain cloud design and reappears in several patterns due to the need 

 for conformity with the borders of the textile into which the pattern has 

 been woven. A rounded, dome-shaped figure frequently appears instead 

 of the triangular device, which is similar to the triangular pattern used 

 in the symbolism of the Plains tribes. Below : The Saltillo serape is 

 perhaps the finest example of weaving and of woven decorative design 

 known from aboriginal American tribes. The woven blankets of the 

 Salish, of the Chilkat, and of the Navaho are close seconds so far as per- 

 tains to design alone, but are inferior in weaving technic. Except for the 

 yoke pattern, in the example shown, there has been woven throughout, a 

 series of small, lozenge-shaped figures. Other examples of Saltillo scrapes 

 Incorporate series of small, hour-glass figures in continuous panels. The 

 art of weaving scrapes on native Mexican looms has all but become extinct 

 and the few known examples of this textile art are valued highly. 



Plate 27 



Decorated earthenware bowls of the Pueblo Indians of Zuni, N. Mex. The 

 painting of decorative or of symbolic designs in colors has been carried 

 out to an extent far superior to weaving or basketry technic within the area 

 occupied by the Pueblo Indians. Paint brushes of split 3mcca leaves are 

 commonly used in applying the paint. Before painting on the designs the 

 surface of the vessel has been treated with a slip consisting of white, orange, 

 or yellowish clays reduced with water. This priming coat serves as a back- 

 ground for the painted designs to be applied. Colors for the paints are de- 

 rived from plants as the bee plant {Peritoma serrulatum) which produces 

 a brilliant black, or ochres in shades of red and yellow. 



Use of paints in conventional designs pertaining to local mythology is 

 more common than is the painting on of life motives in eccentric or in 

 realistic form. The Zuni potter separates the available wall space into 



