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ORIGIN OF WEAVING

(Continued from Page 18) This was an aggregate of a hundred or even several hundred rooms. Pottery of a vastly superior type, particularly in decoration, was produced. This same influence was likewise felt in the development of agriculture, irrigation being one of the most significant advancements made. All in all the opening of this period heralded the highest attainment of the prehistoric Southwest. Yet, oddly enough, there were several expressions which did not keep pace with the others. Sandal making was one industry which made no progress in the Late Pueblo period over the attainments of the previous period. The weaver sometimes produced a sandal of fine material and weave equal to products of the preceding age; yet in no instance were sandals produced which surpassed the excellent types of the Early Pueblo phase. New "styles" in footgear appeared, as the notched-toe sandal-a sandal with a small angular notch on the outer side. Was this to allow the toes freedom with which to grip in climbing? Was the crescent-toed sandal so formed to give freedom to the toes for the same purpose? Perhaps so.

In spite of the lack of it in the sandal and basket industries, definite progress was made in other lines of weaving. For example, there are innumer-able scraps of woven goods here and there in the museums throughout the country which testify to the versatility of the Late Pueblo weaver. The textile collection in the State Museum at Tucson illustrates the many varieties of weaving. Incidentally this is the best collection of Southwestern weaving on display in the country. Yucca plays a small part in these better pieces, having been used for head bands, belts and smaller objects only. Some of these are decorated in color. Various articles of clothing, robes, burial cloth and such effects were made of cotton.

A few examples will suffice to illustrate the pieces. One fragment of cotton cloth is as coarse in weave and as strong in quality as canvas. Another finer piece has a blue and white "polka dot" pattern, which was produced in tie and dye fashion. A third plain white fragment has an open work design, which is not far different from drawn work. Perhaps the most exquisite piece is one which was found on a baby buried in the Tonto Cliff ruins near Roosevelt Dam. This piece is almost complete. It is a woman's jacket with arm and neck holes left open as the deft weaver produced the lace-like garment. An intricate geometric design is revealed in an all over pattern.

The last chapter in Southwestern prehistoric weaving is written in the records of El Tovar, the Spaniard, who was among the first white men to contact the Hopi Indians. Sent west by Coronado, he first greeted the Hopi over a sacred corn meal line which the natives had drawn in discrimination against the intruders. After a few words, however, a more peaceful note was struck and the Hopi welcomed the Spanish over the narrow line by passing to them "towels" in sign of amity. These towels were probably cotton kilts, which were not very different from the ceremonial kilts still worn by the natives, if one may trust the description by the Spaniard. They were tightly and carefully woven hand-loom products, made of a finely spun native cotton.

This, then, is the tradition of weaving in the Southwest. This background is the one upon which the Navajo weaver builds her beautiful creations, for the Navajo learned to weave through contact with the Hopi and the Hopi inherited directly this art. The work is still done by hand. Wool was introduced in the first Spanish sheep; commercial wool and cotton, and aniline dyes have been added through further white contact. However, the most prized blankets, baskets or other products of the Southwestern weaver are those made of native wool or cotton, dyed with native colors, and decorated with the beautifully symbolic designs, whose weaving lies buried in the dim, prehistoric past.