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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/24568-h.zip b/24568-h.zip Binary files differnew file mode 100644 index 0000000..5b86522 --- /dev/null +++ b/24568-h.zip diff --git a/24568-h/24568-h.htm b/24568-h/24568-h.htm new file mode 100644 index 0000000..5f5420a --- /dev/null +++ b/24568-h/24568-h.htm @@ -0,0 +1,847 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Aboriginal American Weaving, by Mary Lois Kissell + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p {margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + text-indent: 1em; + } + + h1,h2,h3,h4,h5,h6 {text-align: center; /* all headings centered */ + clear: both; + } + + body{margin-left: 10%; + margin-right: 10%; + } + + table {margin-left: auto; + margin-right: auto;} + + img {border-style: none; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + right: 1%; + font-size: x-small; + text-align: right; + font-weight: normal; + font-style: normal; + } + + a:link {text-decoration: none; + color: #104E8B; + background-color: inherit; + } + + a:visited {text-decoration: none; + color: #8B0000; + background-color: inherit; + } + + a:hover {text-decoration: underline;} + + a:active {text-decoration: underline;} + + .center {text-align: center; + text-indent: 0em;} + + .smcap {font-variant: small-caps;} + + .caption {font-weight: bold; + text-align: center; + font-size: 70%; + padding-bottom: 1em;} + + .figcenter {margin: auto; + text-align: center; + } + + .figleft {float: left; + clear: left; + margin-left: 0; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 1em; + padding: 0; + text-align: center; + } + + .figright {float: right; + clear: right; + margin-left: 1em; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; + } + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's Aboriginal American Weaving, by Mary Lois Kissell + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Aboriginal American Weaving + +Author: Mary Lois Kissell + +Release Date: February 11, 2008 [EBook #24568] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ABORIGINAL AMERICAN WEAVING *** + + + + +Produced by Irma Spehar and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +</pre> + + + +<h1>Aboriginal American Weaving<span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></h1> + +<p class="center" style="padding-top: 4em; font-size: 90%">—— BY ——</p> + +<p class="center" style="font-size: 120%; padding-top: 2em">MISS MARY LOIS KISSELL,<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span></p> + +<p class="center" style="font-size: 80%">American Museum of Natural History,</p> + +<p class="center">NEW YORK CITY.</p> + +<p class="center" style="padding-top: 2em; font-size: 80%; padding-bottom: 4em">A Paper Read before The National Association of Cotton Manufacturers<br /> +at their Eighty-eighth Meeting at Mechanics Fair Building,<br /> +Boston, Mass., April 27th, 1910.</p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/title_page.jpg" width="150" height="150" alt="titlepage decoration" title="titlepage decoration" /> +</div> + + + +<p class="center" style="line-height: 150%; padding-bottom: 1em; padding-top: 2em"><big>ABORIGINAL AMERICAN WEAVING.</big><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span><br /> + +<span class="smcap">Miss Mary Lois Kissell</span>, American Museum of Natural History, +New York City.</p> + + +<p>Wonderful as is the development of modern machinery for the +manufacture of American textiles—machinery which seems +almost human in the way it converts raw materials into finished +cloth; just as surprising are the most primitive looms of the +American aborigines, who without the aid of machinery make +interesting weavings with only a bar upon which to suspend the +warp threads while the human hand completes all the processes +of manufacture. Modern man's inventive genius in the textile +art has been expended upon perfecting the machinery, while +primitive man's ingenuity has resulted in making a beautiful +weaving with very simple means.</p> + +<p>No doubt could we know the history of primitive loom work<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> +in America prior to the coming of the white man, we would find +an extended distribution of weaving, but all early textiles have +been lost owing to the destructability of the material and the +lack of climatic and other conditions suitable for their preservation—conditions +such as are present in the hot desert lands +of the Southwest and the coast region of Peru. However, so +many impressions of weavings have been found on early pottery +as to assure us that beautiful work of this kind was made in +eastern, middle and southern United States. In western British +Columbia at the present time there are tribes carrying on certain +forms of weaving which show four interesting types.</p> + +<p class="figcenter"><a name="figure1" id="figure1"></a><a href="images/figure1.jpg"><img src="images/figure1_th.jpg" +alt="Kwakiutl squaw, weawing" title="Kwakiutl squaw, weawing" /></a></p> + +<p class="caption">FIGURE 1.—KWAKIUTL SQUAW, WEAVING.</p> + +<p>The simplest type is the cedar bark mat woven of flat strips +<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>in horizontal and vertical lines. In beginning wide strips of the +inner bark are hung from their centre over a crossbar of wood +which is supported at either end by an upright beam. The +halves of the strips hanging in front are then split into strands of +the desired width and a line of fine twining woven across to hold +them securely. The checker weaving of the mat is now begun at +the left edge by doubling the weft element over the last warp and +then weaving with the doubled element over and under one warp +until the right edge is reached where it is turned back and +slipped under an inch of the weaving just completed. <a href="#figure1">Figure 1</a> +shows a squaw at work on such a mat, and when she has completed +this half of the mat the second half will be undertaken. She +<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>finishes the edge by turning up the warp ends below the last +line of weft and binds them with a row of twining just above this +last weft.</p> + +<p class="figcenter"><a name="figure2" id="figure2"></a><a href="images/figure2.jpg"><img src="images/figure2_th.jpg" +alt="Mat with checked design" title="Mat with checked design" /></a></p> + +<p class="caption">FIGURE 2.—MAT WITH CHECKED DESIGN.</p> + +<p>In their industries, primitive people always utilize the materials +found in their environment, because no means is afforded them, +as in modern life, for the transportation of materials from a distance. +British Columbia is rich in cedar trees, so it is not +strange that material from this tree enters so largely into the +weaving of this region. Cedar bark lends itself very delightfully +to the technic of these mats, and its golden brown checked +surface is at times crossed by black lines or broken by a group +of black checks in simple designs. These vary greatly, but +only one example (<a href="#figure2">Figure 2</a>) can be shown here.</p> + +<p class="figcenter"><a name="figure3" id="figure3"></a><a href="images/figure3.jpg"><img src="images/figure3_th.jpg" +alt="Primitive loom with plaited mat" title="Primitive loom with plaited mat" /></a></p> + +<p class="caption">FIGURE 3.—PRIMITIVE LOOM WITH PLAITED MAT.</p> + +<p>The second type of weaving, also of cedar bark, is begun like +the last mat, but the elements are so placed as to cross the surface +diagonally—alternate strips passing diagonally downward +to the right and left as in <a href="#figure3">Figure 3</a>. These strips are not woven +but plaited over and under each other without the addition of a +weft element as in weaving. When the side edge is reached +<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>the strips turn over at right angles and continue to plait in the +changed oblique direction. The lower edges are finished by +bending the elements at right angles and plaiting them obliquely +back for an inch into the completed surface. Checked weaving +and plaiting is employed in a variety of ways, for aside from +mattings it enter into the construction of baskets, pouches, bags, +sails, raincoats, baby's hoods, and a number of other articles.</p> + +<p class="figcenter"><a name="figure4" id="figure4"></a><a href="images/figure4.jpg"><img src="images/figure4_th.jpg" +alt="Another type of loom" title="Another type of loom" /></a></p> + +<p class="caption">FIGURE 4.—ANOTHER TYPE OF LOOM.</p> + +<p>Cedar bark which has been softened and shredded plays an +important part in the clothing of this region, especially in +blankets like that in <a href="#figure4">Figure 4</a>. The blanket here, however, is +not of cedar bark but of goat's hair for a number of materials +are made use of by this technic. In this weaving the warps are +not thrown over the crossbeam as in the other loom but are +supported on a cord which itself is bound to the beam by +another cord. Neither are the warps united by a strip of weft +running over and under but by a two strand weft element which<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +twines about the warps. To my knowledge this form of weaving +has never been reproduced by machinery as no machine can make +threads twine. The blankets of cedar bark are undecorated, +but those of wool frequently have strands of another color +passed across the surface and caught into the weaving from time +to time, producing similar designs to that in <a href="#figure4">Figure 4</a>. As +observed in the illustration the lines of weft are not driven +home but are set some distance apart, the space between varying +on different garments. At the lower edge, however, there +is frequently found a band of closely woven twining, at other +times a band of fur, or a long fringe may complete the edge.</p> + +<p class="figcenter"><a name="figure5" id="figure5"></a><a href="images/figure5.jpg"><img src="images/figure5_th.jpg" +alt="Unfinished Chilkat blanket" title="Unfinished Chilkat blanket" /></a></p> + +<p class="caption">FIGURE 5.—UNFINISHED CHILKAT BLANKET.</p> + +<p>The most beautiful weaving of western British Columbia is the +Chilkat blanket, <a href="#figure5">Figures 5</a> and <a href="#figure6">6</a>, a weaving which is unique in +technic and design, both in primitive and modern textile art. It +is a ceremonial garment and the gorgeous designs in white, blue, +yellow and black are of totemic significance and relate to the +ceremonial life of the Indian. In earliest times this blanket was<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> +undecorated, a plain field of white; then color was introduced +on the white field in stripes of herring-bone pattern typifying +raven's tail, because similar to the vanes of the tail feathers; and +later the elaborate geometric designs of present day blankets +developed. These designs are first painted upon a pattern board +the size and shape of those which are to appear upon the blanket, +and it is from this pattern board that the squaw weaves her pattern. +But although the woman (<a href="#figure7">Figure 7</a>) does weave the blanket, the +man also has his part in the process as he furnishes the loom, +the pattern board and the skin of the goat. The squaw prepares +all the materials and collects the bark, for the warp is +of shredded two-ply cedar bark wrapped with a thread of wool, +while the weft is entirely of the soft wool of the mountain goat.<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span></p> + +<table summary="illustrations"> +<tr><td><p class="figcenter"><a name="figure6" id="figure6"></a><a href="images/figure6.jpg"><img src="images/figure6_th.jpg" +alt="Old Chilkat blanket" title="Old Chilkat blanket" /></a></p> + +<p class="caption">FIGURE 6.—OLD CHILKAT BLANKET.</p></td> + +<td style="padding-left: 2em"><p class="figcenter"><a name="figure7" id="figure7"></a><a href="images/figure7.jpg"><img src="images/figure7_th.jpg" +alt="Squaw weaving Chilkat blanket" title="Squaw weaving Chilkat blanket" /></a></p> + +<p class="caption">FIGURE 7.—SQUAW WEAVING CHILKAT BLANKET.</p></td></tr> +</table> + +<p>Lieut. <span class="smcap">G. T. Emmons</span> tells us that the goat of this region +abounds in the rugged coast mountains from Puget Sound to +Cook's Inlet, but is unknown on the outlying islands. Its preference +is the glacial belt and snow-fields of the most broken +country and the terraced sides of the precipitous cliffs. It is +gregarious in habit being found in bands of from ten to fifty or +more. From September until April the skin is in prime condition +with an abundance of soft wool under a heavy covering of +long coarse hair; but the hunting is only done in the autumn. +To prepare for the plucking, the skin must be kept wet on the +underside so it is moistened and rolled up for several days, thus +loosening the hold of the fleece. With thumb and fingers of both<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> +hands the squaw, seated upon the ground, pushes the fleece from +her, procuring by this process great patches of wool and hair. +Then the hairs are plucked out and thrown away and the wool +is ready to be spun. During the spinning the woman also sits +upon the ground with legs outstretched, with the crude wool +by her left side within easy reach. This she draws out with +her left hand and feeds to her right, in the amount necessary to +form the required size of thread. As it is received between the +palm of the right hand and the right thigh, it is rolled from the +body and falls to the side in loose, connected thread. This soft +thread is next spun between the palm of the hand and the +thigh to form a single tightly twisted strand; and by the same +process two of these strands are rolled together to form the<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> +weft thread for the blanket. In technic the blanket is related +to the last one described for it is a twine weaving, but a twilled +twine as the two strand weft encloses two warps at a move and +with each succeeding line of weft advances one warp giving +the surface a twilled effect. It is interesting that the small +blocks of design are woven separately something as a tapestry, +and later the blocks are sewed together with a thread of sinew +from the caribou or whale.</p> + +<table summary="illustrations"> + +<tr><td><p class="figcenter"><a name="figure8" id="figure8"></a><a href="images/figure8.jpg"><img src="images/figure8_th.jpg" +alt="A third type of loom" title="A third type of loom" /></a></p> + +<p class="caption">FIGURE 8.—A THIRD TYPE OF LOOM.</p></td> + +<td style="padding-left: 2em"><p class="figcenter"><a name="figure9" id="figure9"></a><a href="images/figure9.jpg"><img src="images/figure9_th.jpg" +alt="Navajo loom" title="Navajo loom" /></a></p> + +<p class="caption">FIGURE 9.—NAVAJO LOOM.<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span></p></td></tr> +</table> + +<p>The weaving from this region which most nearly approaches +machine work in process of making is the dog-hair and goat's +wool blanket. It is woven upon a loom of two revolving cylindrical +beams, supported by upright posts at either end (<a href="#figure8">Figure +8</a>). The end of the warp thread is attached to a staying cord +stretched from post to post about midway between the revolving +beams. The warp then encircles the loom, catches under +the staying cord, then turns and travels back to its starting point, +there to catch under the staying cord and repeat the operation. +The weft moves across the warps as in twilled cloth, over two, +under two, with an advance of one warp at each line of weft. +Dog's hair, duck down and goat's wool are the materials used, +especially the latter. These materials are spun in two-ply +thread twisted partly upon the thigh of the weaver and finished +on a spindle.</p> + +<p>Leaving this weaving area in western British Columbia we +pass to the other locality of note in North America where primitive +weaving is practised,—in southwestern United States and +northern Mexico. Here the loom work is at a more advanced +stage of development than that of the northern area, the +weavers making use of a loom frame, sheds, healds, batten and +an improvised shuttle. The Navajo Indians are the most skilled +weavers north of Mexico and a description of their weaving is +fairly typical of this area. As the warps are of soft pliable +threads they must of necessity be stretched between two beams. +These are suspended vertically if the weaving is to be of any +great size, the distance between them being that of the proposed +length of the blanket (<a href="#figure9">Figure 9</a>). The warp threads are not +stretched across the beams with an oval movement but are laced +over them, forming two sheds, the upper of which is held intact +by means of the shed-rod, and the lower by a set of healds +passing over a heald-rod. A wooden fork serves as a reed and +a slender twig as a shuttle. Upon this twig is loosely wound +from end to end the weft thread. The shuttle at one move +crosses less than half of the warps as the batten—a flat stick of +hard oak—is too short to open more than that length of the +shed for the passage of the shuttle.<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span></p> + +<table summary="illustrations"> + +<tr><td><p class="figcenter"><a name="figure10" id="figure10"></a><a href="images/figure10.jpg"><img src="images/figure10_th.jpg" +alt="Hopi blanket" title="Hopi blanket" /></a></p> + +<p class="caption">FIGURE 10.—HOPI BLANKET.<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p></td> + +<td style="padding-left: 4em"><p class="figcenter"><a name="figure11" id="figure11"></a><a href="images/figure11.jpg"><img src="images/figure11_th.jpg" +alt="Hopi weaving" title="Hopi weaving" /></a></p> + +<p class="caption">FIGURE 11.—HOPI WEAVING.<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span></p></td></tr> +</table> + +<p class="figcenter"><a name="figure12" id="figure12"></a><a href="images/figure12.jpg"><img src="images/figure12_th.jpg" +alt="Mexican serape" title="Mexican serape" /></a></p> + +<p class="caption">FIGURE 12.—MEXICAN SERAPE.</p> + +<p>In <a href="#figure10">Figure 10</a> only a portion of a blanket from the Hopi +Indians is shown, that the delicate design may be better seen. +A number of Hopi patterns have this fine white line of tracery +upon the dark background and it is this play of the fine line +pattern on the fabric which is one of the chief beauties of Hopi +weavings. The sparkle of white is even more brilliant in <a href="#figure11">Figure +11</a>, another smaller weaving from the same people. They +make constant use of the diagonal or twilled technic, a weave +which requires that the warps be divided into four sheds, the<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span> +upper supplied with a shed stick, the three lower with healds. +The sheds are shifted in a variety of orders for the construction +of different patterns.</p> + +<p class="figcenter"><a name="figure13" id="figure13"></a><a href="images/figure13.jpg"><img src="images/figure13_th.jpg" +alt="Huichol weaving" title="Huichol weaving" /></a></p> + +<p class="caption">FIGURE 13.—HUICHOL WEAVING.</p> + +<p>One of the most beautiful weavings the writer has ever seen +from the southwest is that pictured in <a href="#figure12">Figure 12</a>, which is, however,<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> +only a small center portion of the beautiful serape from +Mexico. The pattern in two colors of indigo upon a tan +colored ground is especially effective, while the tiny blue dots +sprinkled upon the tan surface and the tan dots over the blue +design add a subtle and delightful charm not frequently met +with.</p> + +<p>The last two examples, <a href="#figure13">Figures 13</a> and <a href="#figure14">14</a>, are also from +Mexico, the first a bit of weaving with animal designs from the +Huichol Indians, and the last a belt loom from the same people. +In making belts and other narrow fabrics the loom is either +horizontal or oblique in position, stretching from some post or +tree to the weaver and there attached to a loop which passes +either about the waist or under the thighs and rendered tense +by the weight of the weaver. These belts may be woven with +two or four sheds according to the style of weaving desired, +while another method of pattern work on two shed weaving has +the addition of a round stick run into the warps so as to raise +certain threads while the weft passes two or three times underneath +producing a variety of damask weaving.</p> + +<p>The stretch between these simple methods of primitive +peoples and machine methods of modern life is great indeed +and we will long continue to wonder that with such crude +devices these people could produce results which compare +favorably with our modern weavings.<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></p> + +<p class="figcenter"><a name="figure14" id="figure14"></a><a href="images/figure14.jpg"><img src="images/figure14_th.jpg" +alt="Mexican belt loom" title="Mexican belt loom" /></a></p> + +<p class="caption">FIGURE 14.—MEXICAN BELT LOOM.</p> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Aboriginal American Weaving, by Mary Lois Kissell + +*** END OF THIS PROJECT GUTENBERG EBOOK ABORIGINAL AMERICAN WEAVING *** + +***** This file should be named 24568-h.htm or 24568-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/4/5/6/24568/ + +Produced by Irma Spehar and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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+1,658 @@ +Project Gutenberg's Aboriginal American Weaving, by Mary Lois Kissell + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Aboriginal American Weaving + +Author: Mary Lois Kissell + +Release Date: February 11, 2008 [EBook #24568] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ABORIGINAL AMERICAN WEAVING *** + + + + +Produced by Irma Spehar and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + Aboriginal American Weaving + + ---- BY ---- + + MISS MARY LOIS KISSELL, + + American Museum of Natural History, + + NEW YORK CITY. + + A Paper Read before The National Association of Cotton Manufacturers + at their Eighty-eighth Meeting at Mechanics Fair Building, Boston, + Mass., April 27th, 1910. + + [Illustration] + + + + + ABORIGINAL AMERICAN WEAVING. + + MISS MARY LOIS KISSELL, American Museum of Natural History, New York + City. + + +Wonderful as is the development of modern machinery for the +manufacture of American textiles--machinery which seems almost human +in the way it converts raw materials into finished cloth; just as +surprising are the most primitive looms of the American aborigines, +who without the aid of machinery make interesting weavings with only a +bar upon which to suspend the warp threads while the human hand +completes all the processes of manufacture. Modern man's inventive +genius in the textile art has been expended upon perfecting the +machinery, while primitive man's ingenuity has resulted in making a +beautiful weaving with very simple means. + +No doubt could we know the history of primitive loom work in America +prior to the coming of the white man, we would find an extended +distribution of weaving, but all early textiles have been lost owing +to the destructability of the material and the lack of climatic and +other conditions suitable for their preservation--conditions such as +are present in the hot desert lands of the Southwest and the coast +region of Peru. However, so many impressions of weavings have been +found on early pottery as to assure us that beautiful work of this +kind was made in eastern, middle and southern United States. In +western British Columbia at the present time there are tribes carrying +on certain forms of weaving which show four interesting types. + + [Illustration: FIGURE 1.--KWAKIUTL SQUAW, WEAVING.] + +The simplest type is the cedar bark mat woven of flat strips in +horizontal and vertical lines. In beginning wide strips of the inner +bark are hung from their centre over a crossbar of wood which is +supported at either end by an upright beam. The halves of the strips +hanging in front are then split into strands of the desired width and +a line of fine twining woven across to hold them securely. The checker +weaving of the mat is now begun at the left edge by doubling the weft +element over the last warp and then weaving with the doubled element +over and under one warp until the right edge is reached where it is +turned back and slipped under an inch of the weaving just completed. +Figure 1 shows a squaw at work on such a mat, and when she has +completed this half of the mat the second half will be undertaken. She +finishes the edge by turning up the warp ends below the last line of +weft and binds them with a row of twining just above this last weft. + + [Illustration: FIGURE 2.--MAT WITH CHECKED DESIGN.] + +In their industries, primitive people always utilize the materials +found in their environment, because no means is afforded them, as in +modern life, for the transportation of materials from a distance. +British Columbia is rich in cedar trees, so it is not strange that +material from this tree enters so largely into the weaving of this +region. Cedar bark lends itself very delightfully to the technic of +these mats, and its golden brown checked surface is at times crossed +by black lines or broken by a group of black checks in simple designs. +These vary greatly, but only one example (Figure 2) can be shown here. + + [Illustration: FIGURE 3.--PRIMITIVE LOOM WITH PLAITED MAT.] + +The second type of weaving, also of cedar bark, is begun like the last +mat, but the elements are so placed as to cross the surface +diagonally--alternate strips passing diagonally downward to the right +and left as in Figure 3. These strips are not woven but plaited over +and under each other without the addition of a weft element as in +weaving. When the side edge is reached the strips turn over at right +angles and continue to plait in the changed oblique direction. The +lower edges are finished by bending the elements at right angles and +plaiting them obliquely back for an inch into the completed surface. +Checked weaving and plaiting is employed in a variety of ways, for +aside from mattings it enter into the construction of baskets, +pouches, bags, sails, raincoats, baby's hoods, and a number of other +articles. + + [Illustration: FIGURE 4.--ANOTHER TYPE OF LOOM.] + +Cedar bark which has been softened and shredded plays an important +part in the clothing of this region, especially in blankets like that +in Figure 4. The blanket here, however, is not of cedar bark but of +goat's hair for a number of materials are made use of by this technic. +In this weaving the warps are not thrown over the crossbeam as in the +other loom but are supported on a cord which itself is bound to the +beam by another cord. Neither are the warps united by a strip of weft +running over and under but by a two strand weft element which twines +about the warps. To my knowledge this form of weaving has never been +reproduced by machinery as no machine can make threads twine. The +blankets of cedar bark are undecorated, but those of wool frequently +have strands of another color passed across the surface and caught +into the weaving from time to time, producing similar designs to that +in Figure 4. As observed in the illustration the lines of weft are not +driven home but are set some distance apart, the space between varying +on different garments. At the lower edge, however, there is frequently +found a band of closely woven twining, at other times a band of fur, +or a long fringe may complete the edge. + + [Illustration: FIGURE 5.--UNFINISHED CHILKAT BLANKET.] + +The most beautiful weaving of western British Columbia is the Chilkat +blanket, Figures 5 and 6, a weaving which is unique in technic and +design, both in primitive and modern textile art. It is a ceremonial +garment and the gorgeous designs in white, blue, yellow and black are +of totemic significance and relate to the ceremonial life of the +Indian. In earliest times this blanket was undecorated, a plain field +of white; then color was introduced on the white field in stripes of +herring-bone pattern typifying raven's tail, because similar to the +vanes of the tail feathers; and later the elaborate geometric designs +of present day blankets developed. These designs are first painted +upon a pattern board the size and shape of those which are to appear +upon the blanket, and it is from this pattern board that the squaw +weaves her pattern. But although the woman (Figure 7) does weave the +blanket, the man also has his part in the process as he furnishes the +loom, the pattern board and the skin of the goat. The squaw prepares +all the materials and collects the bark, for the warp is of shredded +two-ply cedar bark wrapped with a thread of wool, while the weft is +entirely of the soft wool of the mountain goat. + + [Illustration: FIGURE 6.--OLD CHILKAT BLANKET.] + + [Illustration: FIGURE 7.--SQUAW WEAVING CHILKAT BLANKET.] + +Lieut. G. T. EMMONS tells us that the goat of this region abounds in +the rugged coast mountains from Puget Sound to Cook's Inlet, but is +unknown on the outlying islands. Its preference is the glacial belt +and snow-fields of the most broken country and the terraced sides of +the precipitous cliffs. It is gregarious in habit being found in bands +of from ten to fifty or more. From September until April the skin is +in prime condition with an abundance of soft wool under a heavy +covering of long coarse hair; but the hunting is only done in the +autumn. To prepare for the plucking, the skin must be kept wet on the +underside so it is moistened and rolled up for several days, thus +loosening the hold of the fleece. With thumb and fingers of both +hands the squaw, seated upon the ground, pushes the fleece from her, +procuring by this process great patches of wool and hair. Then the +hairs are plucked out and thrown away and the wool is ready to be +spun. During the spinning the woman also sits upon the ground with +legs outstretched, with the crude wool by her left side within easy +reach. This she draws out with her left hand and feeds to her right, +in the amount necessary to form the required size of thread. As it is +received between the palm of the right hand and the right thigh, it is +rolled from the body and falls to the side in loose, connected thread. +This soft thread is next spun between the palm of the hand and the +thigh to form a single tightly twisted strand; and by the same process +two of these strands are rolled together to form the weft thread for +the blanket. In technic the blanket is related to the last one +described for it is a twine weaving, but a twilled twine as the two +strand weft encloses two warps at a move and with each succeeding line +of weft advances one warp giving the surface a twilled effect. It is +interesting that the small blocks of design are woven separately +something as a tapestry, and later the blocks are sewed together with +a thread of sinew from the caribou or whale. + + [Illustration: FIGURE 8.--A THIRD TYPE OF LOOM.] + + [Illustration: FIGURE 9.--NAVAJO LOOM.] + +The weaving from this region which most nearly approaches machine work +in process of making is the dog-hair and goat's wool blanket. It is +woven upon a loom of two revolving cylindrical beams, supported by +upright posts at either end (Figure 8). The end of the warp thread is +attached to a staying cord stretched from post to post about midway +between the revolving beams. The warp then encircles the loom, catches +under the staying cord, then turns and travels back to its starting +point, there to catch under the staying cord and repeat the operation. +The weft moves across the warps as in twilled cloth, over two, under +two, with an advance of one warp at each line of weft. Dog's hair, +duck down and goat's wool are the materials used, especially the +latter. These materials are spun in two-ply thread twisted partly upon +the thigh of the weaver and finished on a spindle. + +Leaving this weaving area in western British Columbia we pass to the +other locality of note in North America where primitive weaving is +practised,--in southwestern United States and northern Mexico. Here +the loom work is at a more advanced stage of development than that of +the northern area, the weavers making use of a loom frame, sheds, +healds, batten and an improvised shuttle. The Navajo Indians are the +most skilled weavers north of Mexico and a description of their +weaving is fairly typical of this area. As the warps are of soft +pliable threads they must of necessity be stretched between two beams. +These are suspended vertically if the weaving is to be of any great +size, the distance between them being that of the proposed length of +the blanket (Figure 9). The warp threads are not stretched across the +beams with an oval movement but are laced over them, forming two +sheds, the upper of which is held intact by means of the shed-rod, and +the lower by a set of healds passing over a heald-rod. A wooden fork +serves as a reed and a slender twig as a shuttle. Upon this twig is +loosely wound from end to end the weft thread. The shuttle at one move +crosses less than half of the warps as the batten--a flat stick of +hard oak--is too short to open more than that length of the shed for +the passage of the shuttle. + + [Illustration: FIGURE 10.--HOPI BLANKET.] + + [Illustration: FIGURE 11.--HOPI WEAVING.] + + [Illustration: FIGURE 12.--MEXICAN SERAPE.] + +In Figure 10 only a portion of a blanket from the Hopi Indians is +shown, that the delicate design may be better seen. A number of Hopi +patterns have this fine white line of tracery upon the dark background +and it is this play of the fine line pattern on the fabric which is +one of the chief beauties of Hopi weavings. The sparkle of white is +even more brilliant in Figure 11, another smaller weaving from the +same people. They make constant use of the diagonal or twilled +technic, a weave which requires that the warps be divided into four +sheds, the upper supplied with a shed stick, the three lower with +healds. The sheds are shifted in a variety of orders for the +construction of different patterns. + + [Illustration: FIGURE 13.--HUICHOL WEAVING.] + +One of the most beautiful weavings the writer has ever seen from the +southwest is that pictured in Figure 12, which is, however, only a +small center portion of the beautiful sirape from Mexico. The pattern +in two colors of indigo upon a tan colored ground is especially +effective, while the tiny blue dots sprinkled upon the tan surface and +the tan dots over the blue design add a subtle and delightful charm +not frequently met with. + +The last two examples, Figures 13 and 14, are also from Mexico, the +first a bit of weaving with animal designs from the Huichol Indians, +and the last a belt loom from the same people. In making belts and +other narrow fabrics the loom is either horizontal or oblique in +position, stretching from some post or tree to the weaver and there +attached to a loop which passes either about the waist or under the +thighs and rendered tense by the weight of the weaver. These belts may +be woven with two or four sheds according to the style of weaving +desired, while another method of pattern work on two shed weaving has +the addition of a round stick run into the warps so as to raise +certain threads while the weft passes two or three times underneath +producing a variety of damask weaving. + +The stretch between these simple methods of primitive peoples and +machine methods of modern life is great indeed and we will long +continue to wonder that with such crude devices these people could +produce results which compare favorably with our modern weavings. + + [Illustration: FIGURE 14.--MEXICAN BELT LOOM.] + + + + + +End of Project Gutenberg's Aboriginal American Weaving, by Mary Lois Kissell + +*** END OF THIS PROJECT GUTENBERG EBOOK ABORIGINAL AMERICAN WEAVING *** + +***** This file should be named 24568.txt or 24568.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/4/5/6/24568/ + +Produced by Irma Spehar and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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