September, 1911 
frames are joined together with broad leather hinges. The 
designs are stenciled on grass-woven sacks or Java coffee 
mats. The edges are rolled up tightly and laced with rafha 
to small eyelets screwed to the inside frame. The backs 
of the panels are covered with dark-green denim. The 
upper left-hand panel is taken from a war shield and the 
design represents the Indians’ conception of sharks’ teeth, 
denoting ferocity in war. (Zuni Indians.) 
Color scheme—(1) Vandyke brown, (2) white, (3) 
straw color, (4) scarlet geranium (mix vermilion with 
crimson lake), (5) black. The upper center panel is taken 
from one of the solid wooden wheels of a hand-truck, used 
for transporting tepees and camp outfit, with a ceremonial 
cross denoting the four points of the compass. (Chimayo 
Indians. ) 
Color scheme—(1) olive brown (mix Vandyke brown 
with red and Prussian green), (2) white, (3) deep scarlet 
(mix crimson lake with vermilion and brown), (4) Prus- 
sian green, (5) black. Outline both inside and outside 
crosses with black. The upper right-hand panel shows the 
‘“Swastika,”’ representing the “good spirit” of the Indians. 
Color scheme—(1) deep indigo, (2) straw color, (3) 
deep scarlet (mix crimson lake with vermilion and brown), 
(4) black, (5) white. The left-hand lower panel denotes 
arrows in flight against an imaginary enemy with the swift- 
ness of lightning, as typified by the symbols in the outer 
borders. (Thompson Indians.) 
Color scheme—(1) light olive, (2) black, (3) deep scar- 
let, (4) white. The lower center panel is adapted from an 
Indian-meal bowl of pottery, made by the Mexican Indians. 
Color scheme—(1) deep scarlet, (2) black, (3) indigo 
outlined with white, (4) cerulean blue, (5) white. The 
lower right-hand panel illustrates an Indian encampment, 
showing tepees snug and secure against bellicose forces, as 
represented by the lightning design. (Apache Indians.) 
Color scheme—(1) cerulean blue, (2) indigo, (3) 
white, (4) straw color, (5) Pompeian red (mix Indian red 
with white). The tepees are white on fields of alternating 
red and blue. 
Fig. 2.—Showing stencil work in its simplest form. The 
black arrows are cut out of the cardboard, and the same 
stencil shifted over and used for the red ones. 
Color scheme—(t1) black or dark gray, (2) deep scarlet, 
(3) left flat (the original tint of the skin), (4) red lacing. 
(5) fringe border, olive fading off to red on ends. 
Fig. 3—The same stencil may be used as shown in Fig. 
2, friskets being used for half of the tinted portions at a 
time. These can be pasted lightly or pinned in place. If 
AMERICAN HOMES AND GARDENS 
329 
the design has been laid out with mathematical exactitude, 
the stencil can then be reversed, and the alternating halves 
should register for the second tint. 
Color scheme—(1) deep red-brown, (2) French gray, 
(3) light Pompeian red, (4) cerulean blue. The two 
borders with short fringe, light olive fading off to red; the 
long borders, olive fading off to dark Prussian green and 
deep red. 
Fig. 4.—Only two stencils are required here, one for 
the dark blue and one for the red. The light-blue field is 
blown on first, using a frisket for the flat center. 
Color scheme—(1) pale-blue field, (2) Delft blue, (3) 
deep Pompeian red, (4) left flat (tint of original skin). 
The fringe, canary yellow fading off to Pompeian red. 
Fig. 5.—This irregular design is first laid out in pencil, 
and pieces of heavy brown wrapping paper cut as required 
for each color. The finer lines of both white and black are 
laid on afterward with a stiff brush. 
Color scheme—(1) black, (2) deep red-brown, (3) 
buff, (4) Nile green, (5) deep Nile green, (6) Pompeian 
red, (7) white, (8) light gray. Fringed border, dark green 
fading off to deep red. The colors are separated by ir- 
regular lines of either black or white, as illustrated. Lacing, 
deep red. 
Fig. 6.—The body colors are blown on, using friskets 
for the arrows, Swastikas and ceremonial cross. The 
parallel lines would best be done with a ruler and a stiff flat 
brush. 
Color scheme—(1) red parallel lines on plain field, (2) 
deep navy blue, (3) light-blue parallel lines on plain field, 
(4) Pompeian red, (5) white, (6) black. Fringed bor- 
der, deep tan fading to deep red. Lacing, black. 
Fig. 7.—The design represents the ceremonial dance of 
the Alaska Indians, as typified by the figures of men and 
squaws. ‘The outer and second margins are blown on flat, 
and only one stencil need be cut for each strip of figures 
and tomahawk-heads, blocking out such portions as are not 
in use. These designs are blown on top of the ground or 
body colors. The red tint should be of some opaque color, 
or the light blue will show through and form a purple that 
would constitute a blemish. 
Color scheme—Outside border, tomahawk design, deep 
red-brown on field of light terra cotta. Inside border, fig- 
ures, scarlet vermilion and Prussian blue alternating on field 
of cerulean blue. 
skin. 
olive green. 
red-brown. 
Central square left flat, the color of the 
Central design, scarlet vermilion. Corner design, 
Fringed border, olive green fading to deep 
Lacing, white; which improves the center tint. 
