HOPI CEREMONIAL PIGMENTS. 469 



nisb, and in two cases lakes are produced by complicated processes 

 involving the use of alum. The Hopi also know the value of alum as 

 a mordant, this substance being derived from an impure alum-bearing 

 clay. 



CATALOGUE. 



1. Ca kwa'pi ki, "green bread'' (artiticial), 175682. 

 Ca kwa'pi ki is thus made: 



Abtmt ten ounces of pifion gum is put in an earthern pot and set on the fire, a 

 very little water being poured in to keep it from burning and it is then allowed to 

 roast. A large basin is set conveniently with about a gallon of water in it, and over 

 this basin a yucca sieve is laid, and in the sieve a quantity of horse hair, or shredded 

 jaicca fiber. After the gum has melted and boiled for about ten minutes it is poured 

 upon the hair lying in the sieve and allowed to strain through into the water, where 

 it accumulates in a white mass. The operator then puts about three ounces of frag- 

 ments of blue and green copper carljonate into a small muller and rubs tiieni into 

 a pulp, then pours a little water in the muller and rubs the pulp into a liquid. He then 

 turns to the gum, which is stiff but still pliable, and after kneading and stretching it 

 back and forth, doubling and twisting and pulling, it becomes soft and of glistening 

 whiteness. After manipulating the gum for a])out a quarter of an hour, he folds it 

 up compactly, dips it lightly in the blue-pulp liquid, and puts it back in the roasting 

 pot, which has been filled with water, and sets it on the fire to boil. As the water 

 heats, the gum melts, and just before it comes to a boil he pours in all the blue-pulp 

 liquid, then, as the mixture boils he maintains a constant stirring with a long rod. 

 He dips up some of the mass from time to time on the rod to examine its color, and 

 the longer it boils the darker it grows, and after a1)out twenty minutes he takes the jar 

 off the fire, pours off the hot water and pours in some cold. He then takes the blue- 

 green mass out, and works it around in his hands, forming a cake of about eight 

 ounces. ^ 



2. Kii tcatc'ka, "white claj^," clay; Navajo hlej, or glee. 175683. 

 This clay, which is valued by Hopi potters, is in general use as a cere- 

 monial paint for the bod}-. 



3. Ko ho ni ni cli' ta. 175681. Probabl}^ hematite ground and 

 worked up with water. The Hopi obtain this pigment from the Koho- 

 nini countrv in Cataract Canyon, 110 miles west of the reservation. 

 The color is sj'^mbolic of the northwest region. Its use is most marked 

 in the paraphernalia of the Snake Society. 



1. Ciip na la. Si bibse, berries of sumac {MJiK.^ frilohata). Artificial. 



Clip' na la — red paint, made as follows: 



Three ears of dark purple corn are shelled and the kernels put in an earthen pot, 

 in which are about three pints of water, and the pot is set on the fire to boil. About 

 a quart of dried sumac berries are put in a basin, over which a yucca sieve is laid. 

 The corn having boiled alwut three-quarters of an hour, the pot is taken from the 

 fire and its contents poured upon the sieve, through which the purple-stained boil- 

 ing water is strained upon the sumac berries. Some of the talc-like substance, called 

 l)otato-clay [Tumin chuoka] is then produced, and the operator puts a piece about 

 the size of a walnut in his mouth, chewing it a little to soften it. The berries and 

 hot Avater having now cooled sutHciently, he spits out the clay into his hands which 



^A. M. Stephen, Pigments in Ceremonials of the Hopi, p. 263. 



