NormalizeHEAD main

author: nfenwick <nfenwick@pglaf.org> 2025-01-30 21:30:11 -0800
committer: nfenwick <nfenwick@pglaf.org> 2025-01-30 21:30:11 -0800
commit: ef96ff0ab7e6b98965378f4009f8a91d702f1821 (patch)
tree: d5fb3fca8aa083e79c95b63b855a4d6b8af5bf8e
parent: 72192a5300c9371df8dadaedeaf4fbc87e20213f (diff)
90 files changed, 17 insertions, 5751 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..fb60a91
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #62285 (https://www.gutenberg.org/ebooks/62285)
diff --git a/old/62285-0.txt b/old/62285-0.txt
deleted file mode 100644
index 20cb867..0000000
--- a/old/62285-0.txt
+++ /dev/null
@@ -1,2850 +0,0 @@
-The Project Gutenberg EBook of The Art and the Romance of Indian Basketry, by 
-Clark Field
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world 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.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: The Art and the Romance of Indian Basketry
-       Clark Field Collection, Philbrook Art Center, Tulsa, 1964
-
-Author: Clark Field
-
-Release Date: May 30, 2020 [EBook #62285]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK ART, ROMANCE OF INDIAN BASKETRY ***
-
-
-
-
-Produced by Stephen Hutcheson and the Online Distributed
-Proofreading Team at https://www.pgdp.net
-
-
-
-
-
-
-
-
-
-                              the art and
-                              the romance
-                                   of
-                            indian basketry
-
-
-                              clark field
-
-                         clark field collection
-                  philbrook art center • tulsa • 1964
-
-                   _Published by Philbrook Art Center
-                            Tulsa, Oklahoma
-                                 1964_
-
-
-
-
-                                FOREWORD
-
-
-The autobiographical information about Mr. Clark Field, which appears at
-the end of this brochure, briefly tells the inspiring story of well over
-four decades of dedication to—and sincere belief in—the American Indian
-as a creative artist. The results of these many years of collecting
-Indian baskets (and pottery) are on permanent display at Philbrook Art
-Center, in the Clark Field Collection; in addition, many other specimens
-are in storage and available to the scholar in the study collection.
-This brochure is not intended as a catalogue of all of the baskets in
-the Clark Field Collection, which includes more than a thousand
-specimens. Rather, it serves as an introduction to Indian basketry and
-tells the story of how baskets were made and used. About 90 of the more
-important baskets are illustrated, including the most famous American
-Indian basket, woven by Dotsolalee reproduced in color on the cover.
-
-Mr. Field has combined his enthusiasm for the art of Indian basketry
-with a high degree of scientific scholarship. He has kept careful
-records, which will become increasingly valuable as old specimens become
-even more rare and this Indian skill gradually dies out in this modern
-world. His daughter, Dorothy Field Maxwell, has assisted Mr. and Mrs.
-Field in their collection and with the preparation of this brochure.
-Mrs. Jeanne Snodgrass, Curator of Indian Art at Philbrook, has also
-assisted with the brochure in an editorial capacity.
-
-Mr. Field has performed an invaluable service to humanity in his long
-dedication to the preservation of this most important facet of the
-original Americans, and Philbrook Art Center will be, for countless
-generations, a mecca for those who wish to enjoy this fascinating
-utilitarian, yet esthetically meaningful art form.
-
-                                                      Donald G. Humphrey
-                                                                Director
-                                                    Philbrook Art Center
-                                                           _Clark Field_
-
-
-
-
-                                BASKETRY
-
-
-The need for food containers in early human communities led to the
-“invention” of basketry. The first baskets may have been made of animal
-skin or twigs; but soon evolved into the use of more suitable materials
-such as vegetable fibres. Because of the organic materials used in
-making baskets, most of the earliest examples have been lost through
-decay. A few examples have been preserved but only in areas of extremely
-dry climate, such as in Egypt, in Chile and Peru in South America, and
-in the southwestern United States. Radiocarbon tests of woven artifacts
-establish the existence and the use of baskets in Nevada, Utah and
-Oregon as early as 9000 to 700 B.C., and that Egyptians of the
-pre-dynastic period (c. 5000 B.C.) used baskets. Early literary sources,
-such as the Bible, mention baskets and other woven articles such as the
-“ark of bulrushes” in which the infant Moses was hidden (Exod. 2: 3,
-53); baskets were used to bring the tithes to the temple, and Matthew
-talked of “twelve baskets full.” (Matt. 14: 20.)
-
-In the study of American Indian baskets there are three major factors to
-be considered: the first is the tribe which produced the basket; the
-second is the language, since inter-marriage among tribes produced
-varying cultures; the third factor is the weave of the basket itself.
-For example, the five major weaves used by American Indians are: Coil,
-Twine, Twill, Wicker and Imbricated. To the novice there is the obvious
-difference in shape, color and texture of a collection of Indian baskets
-viewed in a museum. To the collector there is the hint of the whole
-pattern of life of the Indians who produced the basket.
-
-The materials used in any particular basket reflect the locale of the
-tribe which produced it, for the Indian used materials that were at
-hand. In the case of the _Cherokees_, a native variety of red honey
-suckle produced runners that were used by that tribe in Virginia in a
-wicker-type weave. In North Carolina, the same tribe utilized the
-Japanese honeysuckle, while in Oklahoma the tribe used buckbrush
-runners. In Arizona, the _Pimas_ wove split willow twigs and the black
-Martyna or “Devil’s Claw” of their desert lands.
-
-It is the Indian woman, not the man, who makes baskets (except for few
-instances, i.e., the _Papago_ carrying basket). They are made either for
-utilitarian use or for ceremonial use. Basket designs are not taught to
-the craftsman nor are they copied from a pattern book. They are created
-by the individual weaver who is an artist of great ability. The
-artist-craftsman must first develop a manner of weaving that will form a
-shape adequate for the basket’s final use. She must then find suitable
-materials in her area for this weaving project. This step completed, she
-mentally creates a decorative design and invents a method of weaving it
-into the basket.
-
-It is known that all North American Indian tribes, at some time in their
-history, made and used baskets. However, the finest and most decorative
-baskets were made about the middle of the 19th century, in the
-Northwest, down the Pacific Coast states and into the Southwest through
-Arizona and New Mexico.
-
-In 1935 there were more than five hundred _Pima_ Indians making baskets
-for their own use. Now there are less than six good weavers on that
-reservation. Today _Papago_ Indians make some baskets for tourist trade,
-but not nearly as many as they made a few years ago. The _Hopi_ Indians
-bring a few baskets to market places, but there are fewer and fewer each
-year. For example: at the 1964 Inter-Tribal Indian Ceremonials, Gallup,
-New Mexico, there were forty classifications in the basketry
-competition—baskets were submitted to only twenty-seven classifications.
-There are some basket weavers among other tribes but for the most part,
-few tribes today may be called “basket makers.”
-
-The influence of other culture groups upon the craft of basket weaving
-is so great that each year fewer baskets are produced by the regular
-weavers. The Indian women have learned that they can secure mass
-produced articles as a substitute for baskets. Only two percent of the
-types of baskets included in this collection are now being made. It is
-quite probable that by the year 2000 there will be NO Indian baskets
-being woven.
-
-
-
-
-                             EARLY BASKETRY
-
-
-                     _Ozark Mountains of Arkansas_
-
-Very few people are aware that baskets were made by the Ozark “Bluff
-Dwellers.” A special exhibit in the University of Arkansas Museum,
-Fayetteville, contains a small basket filled with grasshoppers. The
-University Museum points out that as long ago as the year 1 A.D.,
-baskets were being made by Indians in the Ozark Area. This provides
-further evidence of the Indian’s early inhabitance of this country.
-
-
-
-
-                BASKETS WHICH ARE NO LONGER MADE—AND WHY
-
-
-Case No. 5:
-
-These tightly woven baskets made by _Thlinkits_ of Alaska, were woven
-from spruce tree roots which were split by hand. The baskets were used
-to hold boiling water for clam cooking. The fibers swelled to such an
-extent that water could be retained in the basket for as long as five
-hours. Today this tribe purchases a kettle or bucket for their boiling
-needs.
-                                                          (See Plate 9c)
-
-Case No. 7:
-
-These large _Apache_ baskets used for storing grain, were made about
-1874. It required as long as three months to produce this type of
-specimen and since 1914 very few have been made. The twenty-five cent
-burlap sack has replaced it.
-                                                          (See Plate 6c)
-
-Case No. 9:
-
-This _Cochiti_ bird cage, made of a yucca plant, has been replaced by
-metal bird cages.
-
-
-
-
-                    IDEAS COPIED FROM INDIAN BASKETS
-
-
-The Anglo appropriated many Indian basket ideas for his own use:
-
-The _Penobscot_ colander was found in use as such among the people of
-this Maine tribe and was made about 1841. It is quite possible that we
-took this as a pattern for our own metal colanders.
-                                                         (See Plate 10a)
-
-It is also quite possible that we copied the pattern of the _Catawba_,
-North Carolina, fish trap for our own minnow trap.
-                                                          (See Plate 4a)
-
-
-
-
-                   BASKETS OF UNIQUE DESIGNS AND USES
-
-
-The average weaver does not use more than five or six figures in a
-design.
-
-Case No. 3: _Mission_ of California—a quail and flying duck design.
-                                                         (See Plate 11b)
-
-Case No. 3: _Shoshone_ (Panamint), Death Valley California—Oriole design
-food bowl.
-                                                         (See Plate 11c)
-
-Case No. 9: _Choctaw_ of Oklahoma—Wall Pocket.
-                                                         (See Plate 16c)
-
-Case No. 9: _Niantic_ of Connecticut—clothes rinsing basket.
-                                                         (See Plate 19d)
-
-Case No. 10: _Chitimacha_ of Louisiana—an alligator intestine design.
-                                                         (See Plate 15c)
-
-Case No. 11: _Shoshone_ (Panamint), Death Valley, California—seventy
-figures in the design; including the American Eagle, crow in a tree,
-rocky mountain sheep, and lizard tracks in the sand.
-                                                          (See Plate 6b)
-
-Case No. 11: _Quinault_ of Washington—Clam gathering basket.
-                                                         (See Plate 14b)
-
-Case No. 12: _Cahuilla_ of California—food platter rattlesnake design.
-                                                         (See Plate 12a)
-
-Case No. 12: _Chemehueve_ of Arizona—a “stink bug” design.
-                                                         (See Plate 12c)
-
-Case No. 12: _Yavapai_ Apache of Arizona—a tarantula design.
-                                                         (See Plate 12d)
-
-Case No. 13: _Paiute_ of Nevada—porridge bowl.
-                                                         (See Plate 10b)
-
-Case No. 13: _Hoopa_ of California—grinding tray and stone.
-                                                         (See Plate 10d)
-
-
-
-
-                         THE VANISHING INDIAN?
-
-
-The vanishing Indian? He is not vanishing! In 1890, the Indian
-population in North America numbered about one quarter million and in
-1963, records reveal there are over one million Indians.
-
-
-
-
-                           SYMBOLIC DESIGNS?
-
-
-There is the mistaken idea that one tribe “understands” the designs of
-another tribe and that there is symbolism, or meaning, to every design.
-Actually, _most_ designs are purely decorative renderings and they have
-no more symbolism for the Indian than a fabric design has for the
-general public.
-
-The identification of a basket is made not through the interpretation of
-a “mysterious meaning” of the design but generally from the design motif
-itself. For instance, baskets made by tribes of southern California are
-distinguishable to the trained eye since they tend to be of a
-particularly heavy, bold and angular style. They seldom have _mysterious
-meanings_!
-                                                         (See Plate 12b)
-
-
-
-
-                                BASKETRY
-
-
-                _Western Apache_—Arizona and New Mexico
-
-Case No. 13:
-
-At one time it was not difficult to identify _Apache_ Basketry by tribal
-name, such as: _San Carlos_, _Chiricahua_, _Tonto_, and _Yavapai_. Today
-it is not possible to identify baskets as belonging to a particular
-_Apache_ tribe.
-
-During the nineteenth century these southwest tribes waged continual
-warfare with the Anglos and Spaniards who had settled in the area.
-Attempts were made by the United States government to establish
-treaties. However, newly written treaties were broken before the ink
-dried! About 1880, the army rounded up all the Apaches of Arizona and
-New Mexico and took them as prisoners to the _San Carlos Reservation_.
-There they remained confined for several years. During this period of
-confinement the basket weavers copied designs and weaving techniques
-from one another.
-
-When the tribes were released and allowed to return to their respective
-reservations the “new” styles of basketry were continued. As a result of
-this situation, today we find baskets woven by these tribes to be so
-similar in appearance that definite tribal affiliation cannot be
-determined. They are therefore classified only as _Western Apache_
-baskets.
-                                                         (See Plate 13a)
-
-
-
-
-                               DATSOLALEE
-                                  1918
-                        _Washoe_—Western Nevada
-
-
-Case No. 3:
-
-This basket was made by _Dabuda_ (Young Willow). She was later given the
-nick-name of _Datsolalee_ (Broad in the Hips) and is best known by this
-name since later in life she tipped the scales at 350 pounds.
-
-On March 26, 1917, _Datsolalee_ started weaving this specimen which is
-fifty-two inches in circumference and has more than 100,000 stitches
-(more than thirty to the inch). Eleven months later, on February 16,
-1918, she completed this basket which is her greatest masterpiece.
-Although made for ceremonial use, the shape is that of a food bowl. The
-white background is made of peeled twig from the Mountain Willow; the
-black color is the root of a Bracken, or giant fern; the reddish-brown
-is bark from the Nevada Redbud. To her the design meant: _We assemble to
-discuss the happy lives of our ancestors._ Shortly after the completion
-of this basket the weaver lost her eyesight. She died at the age of 95
-in 1926.
-
-In 1958 the U. S. Indian Arts and Crafts Board, Department of the
-Interior, Washington, D.C., rated this basket as probably the finest
-specimen of basketry ever produced.
-
-During her lifetime, _Datsolalee_ made only forty-six large scale
-baskets. During the summer months she could often be found at the resort
-area of Lake Tahoe, California, weaving miniature basketry which she
-sold to tourists for small sums. In 1914, Mrs. Henrietta K. Burton, from
-the Bureau of Indian Affairs in Washington, D.C., visited the artist’s
-home in Carson City, Nevada. Mrs. Burton made numerous photographs of
-_Datsolalee_ and her baskets for use in federal publications which dealt
-with Indian basketry. Since that time these photos have appeared in many
-other basketry publications.
-
-Due to the artist’s reputation and ability, as well as the artistry and
-craftsmanship of this specimen it is valued at $2000. It is doubtful
-such a basket could ever again be produced—no weaver today shows ability
-such as that of _Datsolalee_. Her baskets are sought by collectors
-throughout the world.
-
-In 1914, G. A. Steiner, of Pittsburgh, Pennsylvania, purchased the
-finest basket the artist had produced up to that time. It is forty-nine
-inches in circumference and has more than eighty thousand stitches. It
-was purchased for $1950, and added to the Carnegie Library Collection in
-Pittsburgh (this was the highest price ever paid for a single Indian
-basket).
-
-Philbrook’s _Datsolalee_ basket has received international recognition.
-It may be seen, in color, in _Indian Art in America_, by Frederick J.
-Dockstader (New York Graphic Society, 1960) and in the magazine
-_America_ (No. 67) which was distributed by the U. S. Information Agency
-and printed in Russian.
-                                                         (See Plate 17a)
-
-
-
-
-                         UTILITARIAN—HISTORICAL
-                                c. 1835
-                   _Pennacook_—Northern Massachusetts
-
-
-Case No. 4:
-
-This basket is made of ash splints and is white on the interior. The
-exterior is decorated with designs painted in native dyes using a
-swabbing stick which has been pounded at one end to form a brush.
-
-This earliest known type of painted-on decoration ceased about 1870. An
-approximate dating for this specimen can be established from an April 2,
-1835, copy of the _Boston Daily Courier_, which lines the basket lid.
-                                                          (See Plate 2d)
-
-
-
-
-                         UTILITARIAN—HISTORICAL
-                       _Wampanoag_—Massachusetts
-
-
-Case No. 4:
-
-This very plain basket, constructed of brown ash splints, was
-authenticated by the late Frank G. Speck, internationally known
-University of Pennsylvania anthropologist, as being _Wampanoag_.
-
-The _Wampanoags_, now extinct, were a branch of the Massachusetts
-_Algonquins_.
-
-This specimen was made by a direct descendant of King _Massasoit_, the
-Indian chief who met the Puritans at their Plymouth Rock landing in
-1621. Massasoit was the father of King Phillip, for whom the King
-Phillip’s Indian Wars of 1676, were named.
-                                                          (See Plate 2c)
-
-
-
-
-                         CEREMONIAL WINE BASKET
-                                c. 1837
-                            _Papago_—Arizona
-
-
-Case No. 4:
-
-Annually, in July when the fruit of the Saguaro Cactus is ripe, the
-_Papagos_ hold their _Nahwehteete_ (wine drinking) ceremony. The purpose
-of this ceremony is to offer a prayer of supplication to bring rain.
-Wine, made from the Saguaro (called _Tizwin_) is passed around in this
-basket and served from a gourd dipper.
-
-Between dances the basket is used for storing the sacred ceremonial
-paraphernalia used in the dance. The “Keeper of the Sacred Basket”
-seldom ever parts with the basket. Therefore, not many can be found in
-public or private collections.
-                                                         (See Plate 17b)
-
-
-
-
-                                MORTUARY
-                       _Pomo_—Northern California
-
-
-Case No. 3:
-
-The _Pomo_ Indians are the only tribe known to have completely and fully
-decorated baskets with feathers. These baskets were considered to be the
-tribe’s highest artistic achievement. It was a great honor to the memory
-of a deceased person when this type of basket, especially made for such
-an occasion, was placed on his body at the cremation ceremony. It may be
-said that the sacrifice of these baskets was the tribe’s most profound
-means of showing respect at the time of cremation.
-
-The custom of making and using these baskets no longer prevails. Few
-people today know the art, and even fewer people are willing to devote
-the nearly two years to make one feathered basket.
-
-At the time this ceremony was active in the _Pomo_ culture, each family
-had several such baskets in reserve. It must therefore be assumed that
-the women of the tribe devoted a great deal of their time producing
-these symbols to honor the dead.
-
-It is interesting to compare cultures: The _Pomo_ Indian sacrificed a
-work of art which took about two years to make—today’s Anglo society
-calls the florist and orders a “ten dollar spray” of flowers. This
-basket on the collector’s market is valued at about $300.
-                                                   (See Plate 18c & 18d)
-
-
-
-
-                             JUMPING DANCE
-                           _Hoopa_—California
-
-
-Case No. 4:
-
-The “Jumping Dance Basket” receives its name from a ceremony in which
-the participants perform with jumping dance motions. This ceremony is a
-prayer of supplication for the return of the soil’s fertility. It is
-held in the spring of the year on land that has ceased to bear crops.
-
-Some people question these customs, and actually call them mere “Indian
-superstitions.” It is revealing to note, however, that less than a
-century ago Anglos believed that the childhood disease, rickets, could
-be cured by splitting an ash tree at dawn, and passing the stricken
-child head-first through the opening in the tree.
-
-This set of three baskets, handed down from generation to generation,
-was secured from a medicine man. The baskets were made prior to 1860 and
-no one living today seems to know how to weave them. As a result, the
-baskets are quite rare, and it is doubtful if another such set could be
-obtained.
-                                                         (See Plate 18a)
-
-
-
-
-                             MOURNING BOWL
-                                c. 1870
-                         _Menominee_—Wisconsin
-
-
-Case No. 4:
-
-This rare, small birch bark pail is called a “Mourning Bowl.” It is used
-during the _Feast of the Dead_, a sacred ceremony which is held one year
-after burial to honor the deceased. During the Ceremony of the Mourning
-Bowl, food is placed in the bowl and passed to the mourners. After the
-ceremony, the basket containing food is giving a final blessing and is
-placed on the grave of the deceased.
-                                                         (See Plate 17d)
-
-
-
-
-                          INITIATION CEREMONY
-                             _Hopi_—Arizona
-
-
-Case No. 4:
-
-The _Soyal_ (Prayer Offering Ceremony) of the religious organization,
-_Kwan Kwan Tu_ (One Horn Fraternity), is part of a boy’s initiation
-ceremony at puberty. The ceremony is held mainly in the _Kiva_
-(underground ceremonial chamber), from December through April. Here the
-novice meets his godfather for the first time.
-
-The design of the large plaque (at top of plate) represents a sand
-painting which is executed on the floor before the _Kiva_ altar. The
-novice wears only a breechcloth as his godfather instructs him to kneel
-on the painting and rubs him with sacred corn meal, which has been
-blessed by the _Cacique_ or religious leader. The significance of this
-ritual is that the novice’s sins and evil thoughts are washed away. The
-corn meal is then taken outside and cast to the winds, thus purifying
-the boy. (Center of plate 20: basket bowl with corn meal.)
-
-The wicker basket (at bottom of plate 20) is used in carrying bean
-sprouts and young corn during the “February Twelve Day” _Kiva_ ceremony.
-The sprouts and corn, signifying new life for the initiated, are eaten
-by him as he takes the numerous vows of faith.
-
-The two small trays (on either side of the top-center tray) represent
-the badges, which are given to the newly initiated boy.
-                                                          (See Plate 20)
-
-
-
-
-                             WEDDING BASKET
-                            _Navajo_—Arizona
-
-
-Case No. 4:
-
-The origin of the _Navajo_ basket with the “Spider Woman’s Cross” design
-dates back hundreds of years. It is no longer made. As a substitute for
-their own basket during marriage ceremonies, the _Navajo_ people often
-use a _Paiute_ basket of the type shown in the upper right of the case.
-                                                         (See Plate 19b)
-
-The Paiute basket is illustrated on Plate 19c.
-
-
-
-
-                             WEDDING PLAQUE
-                             _Hopi_—Arizona
-
-
-Case No. 4:
-
-This plaque is made of yucca. The green color is unbleached yucca, the
-white is bleached yucca and the black color is yucca which has been dyed
-by using black sunflower seeds.
-
-The plaque is called _Kochaiinpi_ (White Meal Plaque), and is woven by a
-prospective bride for use in the wedding procession. It is hung in the
-newly married couple’s home afterwards, partly to commemorate the
-occasion.
-
-After the wedding the single-file procession proceeds to the new home
-which has recently been built by the groom. This procession is led by
-the bride’s mother who carries on her head a large pottery bowl filled
-with baked beans. The bride follows next. With both hands she carries a
-large basket tray stacked with the _piki_ bread (a thin wafer of
-bread—almost like parchment) which she has made from blue corn meal
-mixed with sweetened siovi ashes and cooked on a hot stone. Next in line
-are four male relatives of the bridegroom, each holding a corner of a
-blanket on which rests the “White Meal Plaque.” The plaque filled and
-running over with the white meal which the bride had ground earlier.
-Thus, the young couple start their life together with an ample quantity
-of food.
-
-The spiritual connotation of the basket is this: It is believed that at
-the time of death an individual’s soul stands on the brink of the
-_Maski_ (or after world; in this case literally the Grand Canyon). The
-soul steps onto the “White Meal Plaque,” gently soars over the abyss,
-and safely descends to the bottom. Thus the soul departs to the abiding
-place of the dead and forever rests in peace.
-                                                         (See Plate 19a)
-
-
-
-
-                                WEDDING
-                                c. 1937
-                           _Pomo_—California
-
-
-Case No. 4:
-
-This coiled basket is covered with the feathers of about two hundred
-quail. The feathers which protrude from the basket, are from the head of
-the Valley Quail, or Gambel’s Quail. The dark blue feathers are taken
-from different quails. The decorative disk-like beads are fashioned in
-the following manner: the shells are broken into small pieces and then
-drilled with a pump drill. They are then strung on a cord and the strand
-is then rubbed on a wet sandstone until the beads are round and uniform
-in size.
-
-This type of basket was made by the bride’s mother and is considered to
-be the finest example of basketry produced by _Pomo_ Indians. The
-_Chimopika_ (Dowry Basket) is presented to the bridegroom, by the
-weaver, at the wedding ceremony. Sweetmeats, such as cakes of sugar from
-sugar sap trees, are placed in the basket and passed around to the
-guests.
-
-The married couple retains this sacred memento of the marriage ceremony
-as long as they both live, but if either of the couple dies the basket
-is sacrificed in the cremation ceremony.
-
-This basket was used in ceremonies prior to about 1889. They are no
-longer made or used. This basket was obtained in 1937 from an Indian
-Agent who at that date stated he had seen only six baskets of this type
-on the reservation since 1907.
-                                                         (See Plate 18b)
-
-
-
-
-                          CEREMONIAL—CARRYING
-                                  1905
-              _White Mountain Apache_—White River, Arizona
-
-
-Case No. 4:
-
-This splendid specimen is woven mainly of lemon bush. The white area is
-yucca plant and the black area is “Devil’s Claw,” or Martyna.
-
-This basket was made by a _White Mountain Apache_ for use in the “Coming
-Out Dance.”
-
-When an Indian Girl reaches the marriageable age, a “Coming Out Dance”
-is given in her honor. The girl’s relatives and friends are invited to
-attend this important traditional ceremony. Drummers provide music as
-the girl and her sponsor (usually her aunt) dance on a rug or on the
-skin of an animal such as the bear or buffalo. These ceremonial baskets
-are placed for the guests to view—the more guests, the more baskets
-required. Each basket is filled with a mixture of sweetmeats, fruits and
-other foods and is placed on a slope in order to make the contents
-plainly visible to the guests.
-
-After the ceremony the baskets are passed among the guests for the
-contents to be enjoyed. They are then hung inside the house by the two
-handles, until the next “Coming Out Dance.”
-                                                         (See Plate 17c)
-
-
-
-
-                                STORAGE
-                                c. 1900
-                             _Pima_—Arizona
-
-
-Case No. 10:
-
-This basket was used for storing mesquite beans after they had been
-hulled. It is doubtful if this type of basket has been made since 1900.
-                                                          (See Plate 8a)
-
-For storage baskets of other tribes see:
-
-  Plate 6a: _Cherokee_
-  Plate 6d: _Ottawa_
-  Plate 7a: _Cherokee_
-
-
-
-
-                             SEED CONTAINER
-                              c. 300 A.D.
-                          _Pueblo II_—Colorado
-
-
-Case No. 4:
-
-Evidence of the importance of basketry among the southwestern peoples of
-the United States in the first few centuries of our era lies in the fact
-that these peoples and their culture are referred to as the “Basket
-Makers.”
-
-This basket dates back to approximately 300 A.D., about 1600 years ago.
-It was used as a seed container to store squash and pumpkin seeds until
-the next planting season. It was found in the cliff dwellings of the San
-Juan River basin near Mesa Verde, Colorado.
-                                                          (See Plate 7b)
-
-
-
-
-                                STORAGE
-                                c. 1875
-                           _Tonto Apache and
-                White Mountain Apache_—Southeast Arizona
-
-
-Case No. 7:
-
-This unusually large specimen is almost three feet tall. Since about
-1914, very few, if any, as large as this have been made. An Indian woman
-would have to devote three to four months to the weaving of a basket of
-this size. Today she can purchase a gunny sack from the nearest trading
-post for twenty five cents and store the same amount of grain with much
-less effort.
-
-This basket, valued at $750.00 on the collector’s market today, is a
-splendid illustration of a dying art. The forthcoming Indian generation
-will not be concerned with the making of baskets for daily use. The
-beautiful weaving techniques and colorful designs will become a thing of
-the past.
-
-Also, in this show case, is a fine 1890 basket specimen; a _Tonto
-Apache_ storage basket from the Verde River area below Flagstaff,
-Arizona.
-                                                    (See Plate 6c & 17c)
-
-
-
-
-                               HOUSEHOLD
-                         _Chitimacha_—Louisiana
-
-
-Case No. 10:
-
-The unusual decorative design of this basket is commonly referred to as
-“alligator intestines.” This design motif has been used as far back as
-history records, and serves as an excellent example of the weaver’s
-skill.
-                                                         (See Plate 15c)
-
-For other examples of household baskets see:
-
-  Plate 15b: _Cherokee_, household farm basket
-  Plate 15d: _Hoopa_, tobacco basket
-  Plate 16a: _Yokut_, general household basket
-  Plate 16b: _Rappahannock_, household farm basket
-  Plate 16d: _Cherokee_, household farm basket
-
-
-
-
-                               FOOD BOWL
-                  _Hopi—Shongopovi_, 2nd Mesa—Arizona
-
-
-Case No. 11:
-
-This food bowl is one of the finest specimens of decorative symbolism
-ever produced in _Hopi_ basketry.
-
-The decorations represent the knobhead (or Mudhead) Clown _Kachina_
-called _Koyemsi_, and the Crow Wing Mother (the mother of all
-_Kachinas_). The four ears of corn, each in a different color, represent
-the four seasons of the year.
-
-Made by _Lula Joshongeva_, it received several awards at the 1956
-Inter-Tribal Indian Ceremonials, in Gallup, New Mexico. Further honor
-was bestowed the basket by a Navajo medicine man’s special blessing at a
-“Blessing Ceremony.”
-                                                          (See Plate 8b)
-
-
-
-
-                            BERRY GATHERING
-                         _Choctaw_—Mississippi
-
-
-Case No. 4:
-
-The basket with a tall handle was made in 1817, fourteen years after the
-Louisiana Purchase. _The basket with a shorter handle is a contemporary
-specimen._
-
-The 1817 specimen is of considerable historical significance since it
-was brought to Oklahoma sometime between 1838 and 1842, at the time the
-Federal Government removed the Choctaw tribe from Mississippi to Indian
-Territory (Oklahoma).
-                                                          (See Plate 5b)
-
-
-
-
-                              WATER BOTTLE
-          _Chiricahua_ and _Havasupai_—New Mexico and Arizona
-
-
-Above door of entrance to Basket Gallery:
-
-These woven specimens are covered with gum from the Pinon Pine and
-subsequently baked over an open fire until they become as hard as
-shellac. This coating makes the bottles watertight.
-
-Several Arizona tribes prefer this type of water bottle to any they can
-procure from the Anglo; they are, therefore, still used extensively in
-this area.
-                                                    (See Plates 2a & 2b)
-
-
-
-
-                          CARRYING (or Burden)
-
-
-Cases No. 1, 7, 8, 11 and Overhead—_Various Tribes_.
-
-This type of basket was used by the _Paiutes_ of Nevada and the
-_Gabrielenos_ and _Maidus_ of California for carrying acorns; by the
-_Quileutes_ of Washington for carrying salmon; by the _Hopis_ of Arizona
-for carrying peaches and corn, and by the _Zunis_ of New Mexico for
-carrying peaches.
-                                                  (See Plates 14c & 14d)
-
-Case No. 1. Examples of burden baskets used by the _Cherokees_ of the
-      Smokey Mountains of North Carolina.
-
-Case No. 7 and 8: Examples of baskets used by the _Karocs_ of
-      California, showing the “Tump-line” basket with head band
-      attached.
-                                                         (See Plate 13c)
-
-Case No. 11: Shows a harvest basket of the _Cahuilla_ of California,
-      used in carrying grains.
-                                                          (See Plate 9a)
-
-
-
-
-                                CARRYING
-                   _Cahuilla_ or _Mission_—California
-
-
-Case No. 13:
-
-This basket was used to carry grasshoppers to the brush and grass
-_Wickiup_ where they were roasted on a long stick over a flame in
-preparation for eating.
-
-There is nothing too unusual about mankind eating insects: The _Holy
-Bible_ tells of the children of Israel—forty years in the wilderness—in
-the land of Canaan, eating locusts, as did John The Baptist while
-preaching in the wilderness. Today specialty stores retail grasshoppers,
-fried worms, bees and ants—many of which are chocolate coated!
-                                                         (See Plate 14a)
-
-
-
-
-                          GRASSHOPPER STEWING
-                            _Paiute_—Nevada
-
-
-Case No. 13:
-
-This basket was made for cooking grasshoppers. After the grasshoppers
-were placed in the basket the top was tied with a buckskin thong and
-submerged in boiling water. The basket was removed from the water when
-the grasshoppers were sufficiently cooked and ready to be eaten.
-                                                         (See Plate 10c)
-
-
-
-
-                              WATER TIGHT
-                                c. 1875
-                           _Thlinkit_—Alaska
-
-
-Case No. 5:
-
-This water-tight boiling basket is made of spruce roots which have been
-finely split by hand. It is woven as tightly as commercially woven
-canvas water bags. These baskets are no longer made for cooking because
-metal containers are readily available.
-
-The design motif of this unusually fine specimen is constructed of
-mountain grass, commonly called Squaw Grass. The grass is soaked in bog
-mud all winter, giving it the black color. The copper color is obtained
-by boiling the grass with copper ore, and the white is the same grass,
-sun bleached.
-                                                          (See Plate 9c)
-
-
-
-
-                            CARRYING BASKET
-                                c. 1890
-                            _Papago_—Arizona
-
-
-Case No. 4:
-
-This carrying, or burden, basket, referred to by _Papagos_ as _Kiaha_,
-is made of stems from the Cereus Giganteus Cactus and the twine from
-leaves of the Maguey plant. The Maguey plant played a major role in
-_Papago_ life due to the fact that food, rope, twine, varnish, needles,
-and liquor were obtained from it.
-
-The _Papagos_ taught the Spaniards to make liquors from the juice of the
-Maguey plant more than four hundred years ago. The liquor is still made
-today in Mexico.
-
-In 1540, the Spaniards, led by Coronado, arrived in the Southwest and
-found this basket being used in daily life. Such items as Mesquite
-beans, cactus, wood, water jars and corn were carried in this basket,
-which is equipped with a head band and rests on the shoulders. After the
-Spaniards introduced horses and horses became plentiful, the men ceased
-to have need for (or to make) this basket.
-
-It is interesting to note that the weaving technique of this (one of the
-few baskets made by men) may be called the American counterpart of
-_Belgian Point Lace_.
-                                                         (See Plate 13d)
-
-
-
-
-                             ROASTING TRAYS
-                                c. 1890
-                           _Yurok_—California
-                             _Modoc_—Oregon
-
-
-Case No. 12:
-
-These three trays are used for roasting shelled nuts such as hazel nuts
-and pinon nuts. The nuts are placed on the tray along with red-hot wood
-coals. A revolving motion is applied to the tray and the coals are
-rolled so deftly that they do not burn the tray.
-                                                          (See Plate 9d)
-
-
-
-
-                      CORN HUSK (or “Sally”) BAGS
-                                c. 1850
-                           _Umatilla_—Oregon
-
-
-Case No. 10:
-
-This specimen was made of a hemp foundation and false embroidery of
-twisted corn husks. Vegetable dyes were used.
-
-The name “Sally Bag” goes back to an older use of the term sally,
-meaning “to go forth,” “to sally forth,” i.e. to travel.
-
-The bags were used as travel bags and were tied to the back of the
-cantle of the saddle. They were known to have been in use at the time of
-the Lewis and Clark Expedition of 1805.
-                                                         (See Plate 15a)
-
-
-
-
-                            EFFIGY—TRINKETS
-                _Alibamu_ of Texas, formerly of Alabama
-                          _Papago_ of Arizona
-
-
-Case Nos. 2 and 13:
-
-These baskets are unique works of art. Each shows considerable
-creativity. The _Alibamu_ turkey basket made of pine cones and the
-_Papago_ owl made of Yucca plant are used as trinket baskets. In more
-recent years, additional types have been made in the form of birds,
-frogs, turtles, alligators, armadillos, etc. These baskets have proven
-quite popular and have therefore become an asset to the economy of the
-craftsman.
-                                                    (See Plates 5c & 5d)
-
-
-
-
-                            IMBRICATED WEAVE
-                     _Yakima_—Toppenish, Washington
-
-
-Case No. 11:
-
-The Latin word _Imbrex_ means tile; imbricated means overlapping like
-tiles or a decoration resembling tiles. This basket is an excellent
-example of the imbricated weave.
-
-This basket was formerly used for cooking and is now used in berry
-picking. There are four different materials used in the construction:
-the foundation is coiled, split cedar roots; the white color is bleached
-mountain grass; the dark red is cherry tree bark; the brown is cedar
-bark.
-                                                          (See Plate 5a)
-
-
-
-
-                               BIRCHBARK
-                             Various Tribes
-
-
-Case No. 8:
-
-Many items are made from birch-bark by the Indians in areas where the
-birch tree grows in abundance. Like many other cultures, the Indian used
-objects for daily use which required the least effort to make.
-Birch-bark lends itself readily to easy construction.
-
-Shown here are many forms of birch-bark construction: boxes, buckets,
-creels, trays, etc.
-
-  Plate 3d: _Algonquin_ fishing creel
-  Plate 7c: _Algonquin_ canoe box
-  Plate 7d: _Chippewa_ storage box
-  Plate 8c: _Chippewa_ wild rice gathering tray
-
-
-
-
-                             SQUASH BLOSSOM
-                             _Pima_—Arizona
-
-
-Case No. 7:
-
-The decorative motif of these baskets is actually thought of by the
-_Pima_ weaver as a “progressive design,” rather than that of a squash
-blossom. The design is executed in sequences of three to twelve petals,
-one of a sequence to each basket. Only two complete sets (ten baskets to
-a set) are known to exist. They are no longer made.
-
-These baskets were used for such things as winnowing grain and gathering
-fruit and vegetables.
-                                                          (See Plate 9b)
-
-
-
-
-                       PORCUPINE QUILL DECORATION
-                                c. 1903
-                          _Chippewa_—Minnesota
-
-
-Case No. 2:
-
-One of the finest examples of the Indian woman’s native creative arts is
-found in porcupine quill decoration. The artist formerly prepared her
-own dyes from berries, roots, barks, etc. Today, aniline dyes are used
-almost exclusively. Steps used in the preparation of quills for bark
-decoration are as follows:
-
-  The artist usually divides the quills into four lengths and stores
-  them in separate containers because they differ in length and
-  thickness (one to four inches long and 1/16 to 3/32 inches thick). The
-  quills are washed well in soap root before being dyed, and stored.
-  When she is ready to use the quills she softens them in her mouth. The
-  warmth and moisture are most effective and it is thought that the
-  saliva contains some special property that makes them more pliable.
-  She generally keeps a number of the quills of the same size and color
-  in one cheek with the points protruding from her lips, pulling out a
-  quill as it is needed. Small holes are punched in the bark with an awl
-  and the quill is inserted in these holes. The ends are bent over on
-  the back side of the bark to hold them in place. By using quills of
-  the desired length to fit the decoration, it is not necessary to cut
-  them. The quill swells and stiffens as it dries, making it even more
-  secure.
-
-In most boxes, so decorated, a plain undecorated piece of bark is fitted
-on the inside (or back side) to hide the raw ends of the quills. Three
-to four thousand quills are required to cover a box the size of the one
-shown in Plate 1a. Vegetable dyes were used on the quills of this box
-and have not faded in more than fifty years.
-                                                          (See Plate 1a)
-
-
-
-
-                               MINIATURES
-
-
-Case No. 2:
-
-Indian women make these to show their skill in weaving. In similar
-fashion, the Anglo has engraved the _Lord’s Prayer_ on the head of a
-straight pin in order to illustrate his skill.
-
-The principal, and interesting difference is: the Anglo uses a
-magnifying glass and the Indian women do not.
-
-
-
-
-                         MOOSE HAIR EMBROIDERY
-                                c. 1875
-                   _Huron_—Province of Quebec, Canada
-
-
-Case No. 3:
-
-This basket and the basket from Maine are rare examples of the old
-Indian art of moose hair embroidery. A cluster of very fine hair grows
-from the withers of the wild moose and this hair, dyed in suitable
-colors, is used for the embroidery.
-
-The art of this type embroidery probably dates back to about 1714, at
-which time the natives used this method of decoration for their own
-buckskin clothing. It is believed that these people were taught the art
-at convents after the steel needle was introduced into this country from
-Europe in the eighteenth century. However, there is no proof of this
-theory.
-
-It is interesting to note other unique examples of decorative art by
-these people; i.e., the drilling of seed pearls the size of the head of
-a straight pin and in turn, sewing these pearls on cloth or fiber. With
-crude tools, they created rare and beautiful works of decorative art
-which would be difficult for us to duplicate with today’s precision
-tooling.
-
-After adopting Anglo-style clothing these Indians practiced moose hair
-embroidery art on trinkets such as these until it became almost extinct
-by 1890. Specimens such as these are rare even in museums.
-                                                          (See Plate 8d)
-
-
-
-
-                        _Passamaquoddy—Malecite_
-                                 Maine
-
-
-This is a birch bark box covered with red cloth and decorated with moose
-hair embroidery.
-                                                          (See Plate 8d)
-
-
-
-
-                           WHALEBONE (Baleen)
-                     _Eskimo_—Point Barrow, Alaska
-
-
-Case No. 3:
-
-The Baleen used in the weaving of this basket is found in the upper jaw
-of the Bowhead, or Alaskan Right Whale. This horny substance is pulled
-into various sized strips. While it is still fresh it is flexible and
-can be woven as easily as fiber. The same weaving technique used in
-making coiled baskets from grass roots is also used in the construction
-of this basket.
-
-An Alaskan trader is credited with having taught the _Eskimos_ to use
-Baleen as a weaving medium. The art was almost extinct until a few years
-ago when the U. S. Indian Arts and Crafts Board gave needed
-encouragement to the craftsmen.
-
-The Bowhead, or Right Whale, is not plentiful at Point Barrow; only two
-or three such whales are caught during a good year. Some years none are
-caught.
-
-Two factors are predominate in making this type of basketry scarce: 1)
-lack of Baleen, 2) the fifty hours necessary for a skillful craftsman to
-construct the specimen.
-
-The decorative ivory figure on the lid of the basket is made of walrus
-tusk.
-                                                          (See Plate 1b)
-
-
-
-
-                         ALEUT ISLAND BASKETRY
-                        c. 1860 and c. 1939-1944
-                       _Attu_—Attu Island, Alaska
-
-
-Case No. 6:
-
-The baskets shown in display case no. 6, are the finest weave known to
-have been made in North America.
-
-Woven in about thirty days, the average size basket may have up to
-10,000 stitches to the square inch. The finest machine made cotton
-sheeting has 3600 stitches to the square inch.
-
-The dark toned baskets were made about 1860 and the lighter toned ones
-were made between 1939 and 1944.
-
-These specimens are made by the _Aleut_ Indian women of a beach grass
-(Wild Rye) which grows on Attu Island. The stems and blades are about
-the size of wheat straw, and the _Aleut_ women split them with their
-finger nails.
-
-In 1741, Russian explorers discovered and settled the Aleutian Islands.
-They later found that the native women were wrapping their dead with
-finely woven, narrow strips of grass fiber and placing the bodies in
-caves.
-
-Russians then encouraged the _Aleuts_ to weave baskets of this same
-product. In the normal course of events, the Russians influenced the use
-of silk and cotton thread decorations on the baskets.
-
-In 1948, Edward L. Keithan, curator of The State Museum of Alaska, made
-a field trip to the Aleutian Islands and found only three women still
-practicing this fine art of basketry. Today, there is no continuance of
-this art.
-                                                    (See Plates 1c & 1d)
-
-
-
-
-                            GAMBLING DEVICES
-
-
-Case No. 2:
-
-Illustrated here are several types of gambling devices used by North
-American Indians:
-
-_Pomos_ of California, used a mat on which they threw their counters.
-                                                          (See Plate 4b)
-
-_Seneca-Cayuga_ of New York, used a wooden bowl and six flat, polished
-      peach seeds for their famous “Peach Seed Game.” This bowl was
-      brought to Oklahoma about 1840.
-                                                          (See Plate 4c)
-
-_Cheyennes_ of Oklahoma, used a basket bowl with wooden counters.
-
-_Pawnees_ of Nebraska, used a basket tray. This is the only type of
-      basketry known to have been made by them. This basket was made
-      before they were removed to Oklahoma.
-                                                          (See Plate 4d)
-
-_Klamaths_ of Oregon, used a different gambling device in that it was
-      more of a guessing game. The mat covered the hands of the
-      operator. The two bones are held, one in each hand, and rotated.
-      The bet was made on the turn of the selected bone. These counters
-      were usually made from the foreleg of a deer or elk.
-
-The Mongolian culture is well known to have a strong interest in
-gambling games. Some anthropologists tell us that the North American
-Indians came to this country many years ago across the Bering Sea from
-Asia and that they are descendants of the Mongolians in that area.
-
-
-
-
-                              MANIOC PRESS
-                    _Carib_—Guatemala and Venezuela
-
-
-Case No. 13:
-
-Indians of Mexico, Central America, northern South America and the
-Caribbean Islands used this press to remove poison (Hydrocyanic Acid)
-from the Manioc root. This root is similar to the root used in the
-preparation of tapioca. The Indians process the root to make a flour
-which is used in a native bread. This type of press was in use by these
-people as early as 892 A.D. and in some areas is still being used today.
-
-To remove the poison from Manioc the root is pounded, then stuffed into
-the basket, causing it to expand in girth and to shorten in length. (The
-particular type of diagonal twill weave used in this basket press
-permits a girth expansion to twice its former size and a reduction in
-length of about one-half its original size.) The press is then submerged
-in water and soaked until thoroughly saturated. When it is removed from
-the water the press is hung by the loop end, usually on a branch. The
-foot or a weight is put on the closed end of the press and this creates
-a squeezing action which removes the poison from the root inside. At
-this point the press changes shape and becomes long and narrow again.
-This process is repeated several times to assure the removal of the
-poison.
-                                                         (See Plate 11a)
-
-
-
-
-                              BABY CRADLES
-
-
-Case No. 5:
-
-The art of making basket cradles is almost lost today. However, the
-wooden cradle is still made and used extensively by many tribes; this is
-especially so in the Pueblo tribes.
-
-The following illustrates the use of baby cradles by some basket making
-tribes: Hoopas, of California, used a sit-down type cradle—the baby is
-seated in, and tied to, the cradle; _Hopis_, of Arizona and _Frazier
-River_, of Washington, used the cradle for putting the baby to sleep
-holding the cradle in their arms; tribes such as _Mono-Paiute_ and
-_Pomo_, of California, and _Ute_ of Colorado, used the cradle by placing
-it on the mother’s back.
-
-There are more than six hundred Indian dialects. The _Ute_ word for
-cradle is _Ahcacon_. When asked, what the Indian word for “cradle,” or
-“baby board” is, it is impossible to answer. Because of the many
-dialects it is easily understandable that there are numerous words for
-this object, just as the word would be different in Spanish, Swedish,
-German or Russian.
-                                                (See Plates 3a, 3b & 3c)
-
-
-
-
-                          BLOW GUN AND QUIVER
-                       _Cherokee_—North Carolina.
-
-
-Case No. 1:
-
-Made of wild cane and six feet long, this type blow gun was used for
-shooting poison darts. Some guns are as long as twenty feet. A blow gun
-is extraordinary in that it has for example, the power to shoot a dart a
-quarter of an inch into a pine door. This power is probably due to the
-choke bore design of the gun.
-
-The darts are fifteen to eighteen inches long and are made of locust
-wood. They are sharpened and hardened over a flame at one end and, at
-the opposite end are wrapped at an angle with the silk from a thistle
-plant. As the air is blown into the gun the thistle silk fluffs and
-creates a shoulder to blow against. The dart is retarded in its movement
-by the taper of the bore. It is not known what implement was employed to
-produce this tapered bore.
-
-Many years ago this type blow gun, with poison darts, was used in
-warfare by the _Cherokee_, _Choctaw_, _Catawaba_, and _Houma_ tribes.
-Displayed with the blow gun and darts is the basket quiver which held
-the darts. These specimens were brought to Oklahoma before 1860, by the
-grandfather of Jim Backwater.
-                                                          (See Plate 21)
-
-
-  The Clark Field Collection of Indian Baskets is composed of one
-  thousand and ninety six specimens, as of date (1964), from throughout
-  North America and represents almost every basket making tribe of that
-  area. Due to the wide scope of tribal representation and the beauty of
-  these outstanding specimens, this collection is rated by the U. S.
-  Indian Arts and Crafts Board as the most outstanding Indian basket
-  collection in North America.
-
-
-                              Plate No. 1
-
-    [Illustration: 1a
-    HOUSEHOLD
-    _Chippewa_
-    Minnesota
-    Size: 3¾″ × 8¼″]
-
-    [Illustration: 1b
-    TRINKET
-    _Eskimo_
-    Alaska
-    Size: 3½″ × 3½″]
-
-    [Illustration: 1c
-    DECORATIVE
-    _Attu_
-    Aleutian Islands, Alaska
-    Size: 5″ × 6″]
-
-    [Illustration: 1d
-    DECORATIVE
-    _Attu_
-    Aleutian Islands, Alaska
-    Size: 3¼″ × 3¾″]
-
-
-                              Plate No. 2
-
-    [Illustration: 2a
-    WATER JUG
-    _Chiricahua Apache_
-    New Mexico
-    Size: 13½″ × 9½″]
-
-    [Illustration: 2b
-    WATER JUG
-    _Havasupai_
-    Arizona
-    Size: 12″ × 10″]
-
-    [Illustration: 2c
-    HISTORICAL—UTILITARIAN
-    _Wampanoag_
-    Massachusetts
-    Size: 6¾″ × 9″]
-
-    [Illustration: 2d
-    HISTORICAL—UTILITARIAN
-    _Pennacook_
-    Massachusetts
-    Size: 14½″ × 20″]
-
-
-                              Plate No. 3
-
-    [Illustration: 3a
-    CRADLE
-    _Pomo_
-    California
-    Size: 16″ × 12″ × 7″]
-
-    [Illustration: 3b
-    CRADLE
-    _Hoopa_
-    California
-    Size: 16¾″ × 9½″]
-
-    [Illustration: 3c
-    CRADLE
-    _Ute_
-    Colorado
-    Size: 34″ × 12″]
-
-    [Illustration: 3d
-    FISHING CREEL
-    _Algonquin_
-    Quebec, Canada
-    Size: 10½″ × 10½″ × 8½″]
-
-
-                              PLATE No. 4
-
-    [Illustration: 4a
-    FISH TRAP
-    _Catawba_
-    North Carolina
-    Size: 64″ × 16″]
-
-    [Illustration: 4b
-    GAMBLING MAT
-    _Pomo_
-    California
-    Size: 28″ diameter]
-
-    [Illustration: 4c
-    GAMBLING TRAY
-    _Seneca—Cayuga_
-    New York and Oklahoma
-    Size: 12″ × 3¼″]
-
-    [Illustration: 4d
-    GAMBLING TRAY
-    _Pawnee_
-    Nebraska and Oklahoma
-    Size: 9″ × 2″]
-
-
-                              Plate No. 5
-
-    [Illustration: 5a
-    BERRY GATHERING
-    _Yakima_
-    Washington
-    Size: 20″ × 14½″]
-
-    [Illustration: 5b
-    BERRY GATHERING
-    _Choctaw_
-    Mississippi
-    Size: 10″ × 10″]
-
-    [Illustration: 5c
-    EFFIGY—TRINKET
-    _Papago_
-    Arizona
-    Size: 8½″ × 7″]
-
-    [Illustration: 5d
-    EFFIGY—TRINKET
-    _Alibamu_
-    Alabama and Texas
-    Size: 6″ × 7″]
-
-
-                              Plate No. 6
-
-    [Illustration: 6a
-    STORAGE
-    _Cherokee_
-    North Carolina
-    Size: 18½″ × 18″]
-
-    [Illustration: 6b
-    STORAGE
-    _Shoshone—(Panamint)_
-    Death Valley, California
-    Size: 24″ × 9″]
-
-    [Illustration: 6c
-    STORAGE
-    _Tonto Apache_
-    Arizona
-    Size: 29½″ × 19″]
-
-    [Illustration: 6d
-    STORAGE
-    _Ottawa_
-    Michigan
-    Size: 10½″ × 14″ × 10″]
-
-
-                              Plate No. 7
-
-    [Illustration: 7a
-    STORAGE
-    _Cherokee_
-    North Carolina
-    Size: 13¾″ × 12″ × 12″]
-
-    [Illustration: 7b
-    STORAGE
-    _Basket Maker II_
-    New Mexico
-    Size: 5⅝″ × 4″]
-
-    [Illustration: 7c
-    STORAGE
-    _Algonquin_
-    Quebec, Canada
-    Size: 12½″ × 18½″ × 15½″]
-
-    [Illustration: 7d
-    STORAGE
-    _Chippewa_
-    Wisconsin
-    Size: 17″ × 9″ × 12″]
-
-
-                              Plate No. 8
-
-    [Illustration: 8a
-    STORAGE
-    _Pima_
-    Arizona
-    Size: 21½″ × 18″]
-
-    [Illustration: 8b
-    STORAGE
-    _Hopi_
-    Arizona
-    Size: 13″ × 17″]
-
-    [Illustration: 8c
-    GATHERING
-    _Chippewa_
-    Wisconsin
-    Size: 30″ × 20″ × 7½″]
-
-    [Illustration: 8d
-    HOUSEHOLD TRINKET
-    _Passamaquoddy—Malecite_
-    Maine
-    Size: 3″ × 5″]
-
-    [Illustration: CARD CASE
-    _Huron_
-    Quebec, Canada
-    Size: 4″ × 2¾″]
-
-
-                              Plate No. 9
-
-    [Illustration: 9a
-    HARVEST
-    _Cahuilla (Mission)_
-    California
-    Size: 8½″ × 22″]
-
-    [Illustration: 9b
-    WINNOWING TRAY
-    _Pima_
-    Arizona
-    Size: 3″ × 19″]
-
-    [Illustration: 9c
-    COOKING
-    _Thlinkit_
-    Alaska
-    Size: 11½″ × 14″]
-
-    [Illustration: 9d
-    ROASTING
-    Yurok (2)
-    California
-    Size: 2½″ × 10½″ and 3″ × 21½″
-    _Modoc (1)_
-    Oregon
-    Size: 3½″ × 14½″]
-
-
-                              Plate No. 10
-
-    [Illustration: 10a
-    COLANDER
-    _Penobscot_
-    Maine
-    Size: 5½″ × 11½″]
-
-    [Illustration: 10b
-    PORRIDGE BOWL
-    _Paiute_
-    California
-    Size: 8″ × 12″]
-
-    [Illustration: 10c
-    STEWING GRASSHOPPERS
-    _Paiute_
-    California
-    Size: 12″ × 9″]
-
-    [Illustration: 10d
-    GRINDING TRAY
-    _Hoopa_
-    California
-    Size: 4½″ × 16½″]
-
-
-                              Plate No. 11
-
-    [Illustration: 11a
-    MANIOC PRESS
-    _Carib_
-    Guatemala and Venezuela
-    72″ × 2½″ not expanded
-    40″ × 4″ expanded (filled)]
-
-    [Illustration: 11b
-    FOOD BOWL
-    _Mission_
-    California
-    Size: 5½″ × 15″]
-
-    [Illustration: 11c
-    FOOD BOWL
-    _Shoshone (Panamint)_
-    California
-    Size: 3⅜″ × 7½″]
-
-
-                              Plate No. 12
-
-    [Illustration: 12a
-    FOOD PLATTER
-    _Cahuilla (Mission)_
-    California
-    Size: 4½″ × 20″]
-
-    [Illustration: 12b
-    FOOD BOWL
-    _Shoshone (Panamint)_
-    California
-    Size: 4″ × 8½″]
-
-    [Illustration: 12c
-    FOOD PLATTER
-    _Chemehueve_
-    Arizona
-    Size: 3″ × 15″]
-
-    [Illustration: 12d
-    FOOD PLATTER
-    _Yavapai Apache_
-    Arizona
-    Size: 4″ × 12½″]
-
-
-                              Plate No. 13
-
-    [Illustration: 13a
-    FOOD PLATTER
-    _Western Apache_
-    Arizona
-    Size: 4¾″ × 21½″]
-
-    [Illustration: 13b
-    FOOD PLATTER
-    _Papago_
-    Arizona
-    Size: 2¾″ × 11½″]
-
-    [Illustration: 13c
-    CARRYING (Tump-Line)
-    _Karoc_
-    California
-    Size: 9¾″ × 13″]
-
-    [Illustration: 13d
-    CARRYING
-    _Papago_
-    Arizona
-    Size: 12″ × 25½″ × 20½″]
-
-
-                              Plate No. 14
-
-    [Illustration: 14a
-    CARRYING (Grasshopper)
-    _Cahuilla (Mission)_
-    California
-    Size: 14″ × 9″]
-
-    [Illustration: 14b
-    GATHERING (Clams)
-    _Quinault_
-    Washington
-    Size: 12¾″ × 16″ × 10″]
-
-    [Illustration: 14c
-    CARRYING
-    _Maidu_
-    California
-    Size: 29½″ × 19″]
-
-    [Illustration: 14d
-    CARRYING
-    _Gabrielenos (Mission)_
-    California
-    Size: 19″ × 25″]
-
-
-                              Plate No. 15
-
-    [Illustration: 15a
-    CARRYING (Sally Bag)
-    _Umatilla_
-    Oregon
-    Size: 17½″ × 13½″]
-
-    [Illustration: 15b
-    HOUSEHOLD (Farm)
-    _Cherokee_
-    Oklahoma
-    Size: 6″ × 9½″]
-
-    [Illustration: 15c
-    HOUSEHOLD
-    _Chitimacha_
-    Louisiana
-    Size: 6½″ × 9″ × 6″]
-
-    [Illustration: 15d
-    HOUSEHOLD (Tobacco)
-    _Hoopa_
-    California
-    Size: 4½″ × 4⅜″]
-
-
-                              Plate No. 16
-
-    [Illustration: 16a
-    HOUSEHOLD
-    _Yokut_
-    California
-    Size: 6″ × 12″]
-
-    [Illustration: 16b
-    HOUSEHOLD (Farm)
-    _Rappahannock_
-    Virginia
-    Size: 9½″ × 20″ × 17″]
-
-    [Illustration: 16c
-    HOUSEHOLD (Wall Pocket)
-    _Choctaw_
-    Oklahoma
-    Size: 14″ × 12″]
-
-    [Illustration: 16d
-    HOUSEHOLD
-    _Cherokee_
-    Oklahoma
-    Size: 9½″ × 12″]
-
-
-                              Plate No. 17
-
-    [Illustration: 17a
-    CEREMONIAL
-    _Washoe_
-    Nevada
-    Circumference 52″ 13″ hi, 8″ orifice]
-
-    [Illustration: 17b
-    CEREMONIAL (Wine)
-    _Papago_
-    Arizona
-    Size: 7¼″ × 15½″]
-
-    [Illustration: 17c
-    CEREMONIAL (Carrying)
-    _White Mountain Apache_
-    Arizona
-    Size: 13¾″ × 14″ × 15″]
-
-    [Illustration: 17d
-    MOURNING BOWL
-    _Menominee_
-    Wisconsin
-    Size: 7″ × 8″]
-
-
-                              Plate No. 18
-
-    [Illustration: 18a
-    CEREMONIAL (Jumping Dance)
-    _Hoopa_
-    California
-    Top: 15″ × 3½″
-    Middle: 18″ × 4½″
-    Bottom: 20″ × 5½″]
-
-    [Illustration: 18b
-    CEREMONIAL (Wedding)
-    _Pomo_
-    California
-    Size: 5⅝″ × 12″]
-
-    [Illustration: 18c
-    MORTUARY
-    _Pomo_
-    California
-    Size: 5″ × 14″]
-
-    [Illustration: 18d
-    MORTUARY
-    _Pomo_
-    California
-    Size: 5″ × 9½″]
-
-
-                              Plate No. 19
-
-    [Illustration: 19a
-    CEREMONIAL (Wedding)
-    _Hopi_
-    Arizona
-    Size: 2½″ × 15″]
-
-    [Illustration: 19b
-    CEREMONIAL (Wedding)
-    _Navajo_
-    Arizona
-    Size: 4″ × 13″]
-
-    [Illustration: 19c
-    CEREMONIAL (Medicine Tray)
-    _Paiute_
-    Arizona
-    Size: 3″ × 14½″]
-
-    [Illustration: 19d
-    RINSING (Clothes)
-    _Niantic_
-    Connecticut
-    Size: 6″ × 11″ × 11″]
-
-
-                              Plate No. 20
-
-    [Illustration: SOYAL INITIATION CEREMONY
-    (Prayer Offering Ceremony)
-    _Hopi_
-    Arizona]
-
-
-                              Plate No. 21
-
-    [Illustration: BLOW GUN, QUIVER and DART
-    _Cherokee_
-    North Carolina]
-
-
-
-
-                          ROOT RUNNER BASKETRY
-
-
-                 _Reprint from Philbrook Brochure, 1952
-                            by Clark Field_
-
-
-
-
-                              INTRODUCTION
-
-
-The purpose that a foreword serves to the reading public is ostensibly
-to express its writer’s endorsement of the material presented and of the
-mode of treatment. In this instance the purpose is heartily avowed. The
-monograph in hand forms a contribution to the series of studies being
-pursued widely among scholars whose aim is to piece together portions of
-the picture of culture of the Indians of the Southeast. Our knowledge of
-the culture properties of native tribes in any area where their
-development has been going on for centuries in their original seats
-comes necessarily by gradual steps. These may seem disconnected in the
-minds of laymen who are in haste to see the whole story completed.
-Perhaps only the pioneer investigator knows how long and intimately a
-people must be studied by dwelling in their midst before their ways of
-life become clear enough to be understood and discussed. Collections of
-data, historical, descriptive and functional, have to be made and
-preserved in the form of notes and actual specimens. When these ends are
-accomplished, the picture of tribal life takes definite shape, and
-another gap in the history of a people is closed. These are the
-requirements for carrying on in a somewhat new undertaking in the line
-of history, namely ethno-history.
-
-Studies of a people’s physical structure, their psychology, language,
-religion and government contribute their share. On the material side
-their crafts developed to supply economic needs and the art involved in
-the crafts themselves must be illustrated with accumulations of
-specimens. These requirements the author of the following study has had
-well in mind for a considerable space of time, and he has treated them
-with conservative judgment and a regard for their implications with
-botany and ecology. Such remarks applied to the paper constitute the
-ethnologist’s endorsement.
-
-It is a splendid thing for man of the present to take time to stabilize
-his mind to contemplating the achievements of tribes inhabiting our
-continent as a prologue to the affairs of the present. Where is the
-brash critic to persist in the claim that the natives of America have no
-original elements of “civilization” either from the early or late past,
-or in the present? The Cherokee have provided an answer. Contemporary
-literature has amassed the evidence nor alone in the series of volumes
-from the University of Oklahoma Press, but in prose and poetry known
-throughout the nation. It offers a compendious chapter in the epic of
-America. Each additional study adds a paragraph of importance to the
-whole.
-
-The study to follow contributes a detail of existing knowledge of the
-art-crafts of the Cherokee. As such it will prove to be another source
-reference to the Cherokee way of life in art and its expression in
-concrete form. The utilities have been and still are to Indians a means
-of finding outlet for their aesthetic urges. Art and crafts are merged
-in the output. Other fields lie open for further attempts to perform its
-functions in national life by issuing successive publications dealing
-with its cultural material, thus laying foundations for that basic
-teaching we fondly call Americanism.
-
-                                                          FRANK G. SPECK
-                                             Department of Anthropology,
-                                              University of Pennsylvania
-                                              Philadelphia, Pennsylvania
-                                                                    1952
-
-
-
-
-                          ROOT RUNNER BASKETRY
-
-
-The association of root-runner basket forms in America would show a
-number of instances of use of a “Rod” as a one rod foundation for coiled
-baskets occurring originally in Arizona, Colorado, New Mexico and on the
-plains.[1] This technologically simple form of basket building material
-has implications bearing upon the age and area theory that challenges
-attention on a wider scale. Apart from the coiling process, a single rod
-construction appears in the Southeast in wicker work. What conclusions a
-broader study of single rod basketry (to which class the root runner
-series belongs) in any of its constructional forms, whether in coiling
-or wicker work, would lead to is quite beyond the purpose of this
-article.
-
-It is the intent of the writer to record a simple phase of basketry
-technique in the southern middle Atlantic slope and the northern part of
-the south and southeast area, as it applies to the Cherokee of the North
-Carolina highlands and of Oklahoma. In these areal habitats the two
-subdivisions of the tribe make use of three diverse plant types, the use
-of which in basketry construction in some districts does not overlap or
-coincide. In Carolina an earlier root-runner style has either passed out
-of memory or never existed among the Cherokee Indians, but came in later
-through acculturative changes. As far as has been ascertained, all fine
-root runner fibers used in the making of Indian baskets belong to two
-family groups, the botanical names of which are Caprifoliceae and
-Crataegus.
-
-To the first family group belong:
-
-  Japanese Honeysuckle (Lonicera Japonica)
-  A vine introduced into America from Asia around 1906.[2]
-  Buckbrush (Symphoricarpos Orbiculatus)
-  Also called Indian Currant and Coral Berry.
-
-To the second family belong:
-
-  Wild Hawthorne (Crataegus Crus Galli)
-  The Yuki Indians of California made a basket out of the stems of a
-          native honeysuckle (Lonicera Interrupta). It, however does not
-          have fine root runners.[3]
-
-
-
-
-                    ROOT RUNNER BASKETS IN VIRGINIA
-
-
-    [Illustration: Root Runner Basket]
-
-The Rappahannock Indians of Virginia make a basket of Japanese
-honeysuckle root runners of a wicker type weave which is crude in
-weaving technique in comparison with baskets from North Carolina.
-(Rappahannock of Virginia.) Quoting Dr. Speck, “The art was revived by
-some of the women in 1922, when the Indian Association was formed. Susie
-and Lizzie Nelson, old Bob Nelson and other Rappahannock Indians made
-these baskets at that time. Chief Otto Nelson, his wife Susie, and
-Lizzie Nelson remember that when they were young about 1890, their
-grandmother Sallie Ronnie, who was then about 60 years old, had a
-honeysuckle sewing basket shaped like an oval bowl, similar in weave to
-the baskets mentioned above.
-
-“There is a native local, variety of Red Honeysuckle (Lonicera
-sempervirens) in Virginia which is not a ground runner but clings for
-six feet or so to trees and fences; it is finer stemmed than the
-Japanese variety and Indian women of the Rappahannock tribe have agreed
-to weave with it. All honeysuckle runners are kept soaked in water to
-preserve their pliability for weaving. They can be gathered and woven at
-any time of the year if treated in this manner.”
-
-As far as known no other fine root runner is used for basket weaving by
-the Indians of this state, although other fine root runners such as
-Devil’s Shoestring and London Pride grow there. Comments on honeysuckle
-wicker-weave baskets among the Mattaponi Indians of Virginia are made by
-Dr. Frank Speck in his book “At Mattaponi,” in which he speaks of the
-girls making baskets of honeysuckle stems, meticulously neat and with a
-technique suspiciously European in detail. We cannot be too sure that
-something like this did not exist before as many references to baskets
-of various forms made in the early days are encountered.[4] The Pamunkey
-Tribe, living on a reservation ten miles south of Mattaponi, have used
-honeysuckle runners for over twenty years. In both bands the details of
-form and weave are identical, and the historical circumstances may also
-be.
-
-
-
-
-                 ROOT RUNNER BASKETS IN NORTH CAROLINA
-
-
-    [Illustration: Root Runner Basket]
-
-The Cherokee Indians of North Carolina used Japanese honeysuckle in
-basket weaving as early as 1880, when it was introduced by a Cherokee
-woman named Arizona Blankenship who had been educated at Hampton
-Institute, Virginia. It is interesting to note that the Cherokee Agency
-Indian School was founded at Cherokee, North Carolina, that same year.
-
-In January, 1943, Dr. Speck made an extensive trip into the hill country
-around Cherokee, North Carolina, visiting the old conservative Cherokee
-Indians of that region. He learned from the old people that honeysuckle
-basket weaving was not an original Cherokee Indian art. Making inquiry
-into their history of basket weaving, he could find no evidence of their
-use of hawthorne (Crataegus) although it is native to that state, or any
-historical evidence of the use of any other fine root runners. It is
-possible, of course, that the Hawthorne runners could have been used by
-other Indian bands in other parts of the state but so far it is not
-known, notwithstanding the fact Dr. Speck has spent many years of study
-of Cherokee Indian basketry in North Carolina.[5] Cane and oak splints
-were used chiefly by the Cherokee in basket weaving and the use of
-Japanese honeysuckle was undoubtedly a later addition to their culture.
-An illustration of one of the earliest known types of honeysuckle weave
-is shown in the Cherokee of North Carolina plate. This basket has no
-foundation to support the fine root runner fibers although most of their
-baskets made of honeysuckle runners do have foundations of oak splints.
-As far as is known no double weaving of fine root runner baskets was
-done by the Cherokee of this state.
-
-
-
-
-                    ROOT RUNNER BASKETS IN OKLAHOMA
-
-
-    [Illustration: Root Runner Basket]
-
-The Cherokee of Oklahoma used buckbrush (Symphoricarpos Orbiculatus) in
-making fine root runner baskets and it appears after careful study and
-extensive inquiry, that this type of basket weaving may have originated
-among the Indians of Oklahoma. This conclusion is based on many years of
-collecting baskets from Cherokee Indians in every part of the old
-Cherokee nation. Interviews with older basket-making women were held
-through interpreters and it was clearly established that basket making
-from honeysuckle was not known to them or to their mothers or
-grandmothers who had lived in Georgia and North Carolina before their
-removal in 1938 to Oklahoma. The only type of weaving known to them
-before coming to Oklahoma was the cane and oak-splint weaving. From such
-interviews these facts could be traced back to as early as 1850. They
-were certain that the earliest baskets made by their grandparents were
-out of buckbrush and oak splints; no cane or honeysuckle was used in the
-northern part of the Cherokee nation.
-
-In the Spavinaw hills country of the northern part of the Cherokee
-nation the Indians used only buckbrush runners as cane does not grow in
-this section. In the southern part of the nation, in the vicinity of
-Gore and Weber Falls, cane grows and is used almost exclusively in
-basket weaving. In the locality of Tahlequah and Stillwell both cane and
-buckbrush weaving is done. The Cherokee of this region make both a
-double and single wicker weave basket of buckbrush runners and no
-foundation is used in either type although each is strong and
-serviceable. All of their fine root runner baskets (buckbrush) are a
-wicker type of weave of unexcelled technique. The double weave basket
-made by Lucy Mouse (shown in the Oklahoma example) is a splendid
-specimen of fine weaving—a strong durable basket. The dye used in this
-basket is walnut stain from boiled walnut hulls.
-
-The buckbrush runners are pulled in the fall of the years and after
-drying two or three weeks are boiled to remove the bark. The fibers
-remain flexible enough for weaving all winter which is the basket
-weaving season.
-
-The shapes were formerly market baskets, fruit trays, egg baskets and
-storage baskets, some of which were used by them as long as fifty years
-ago. Twenty-five years ago vegetable dyes were used for coloring but
-today commercial dyes are largely used; the baskets are made, as a rule,
-for sale, and show considerable white influence.
-
-                                                            —Clark Field
-
-
-
-
-                             AUTOBIOGRAPHY
-
-
-I was born in Dallas, Texas, on January 6, 1882.
-
-I first became interested in the art work of the Indians while working
-as a reporter for an Oklahoma daily newspaper in 1900, at which time I
-covered the opening for settlement of the Kiowa, Comanche and Apache
-Indian reservations in southwest Oklahoma. After two years of study
-(1903-1904) at the University of Oklahoma, I became a traveling salesman
-and remained in that profession until 1917 when I went into business for
-myself (retired from business in 1957). About 1918 I became actively
-interested in Indian pottery and basketry and started my collections.
-Since that time, Mrs. Field, my daughter Dorothy Field Maxwell (Mrs.
-Gilbert S.), and I have traveled more than one hundred and twenty five
-thousand miles collecting in the United States, Canada, Alaska, Mexico,
-Central and South America.
-
-To date (1964) we have spent 46 years in trying to collect authentic
-specimens of baskets made for actual use by all basket-making tribes (no
-tourist specimens are included). Intent upon maintaining the highest
-possible quality throughout the collection, I have always insisted upon
-acquiring the finest representative basket for its particular tribe or
-use.
-
-The collection is completely catalogued and photographed and has been
-given to the Philbrook Art Center of Tulsa, Oklahoma, where it is on
-exhibition. The collection has been rated by members of the Indian Arts
-and Crafts Board, and by members of other museums, as the most
-comprehensive in the United States for its beauty of specimens and
-unusual method of display.
-
-                                                             Clark Field
-
-
-
-
-                               FOOTNOTES
-
-
-[1]The definitions and boundaries of typology and historical horizons
-    given by Dr. Gene Weltfish are followed here. “Prehistoric North
-    American Basketry Techniques and Modern Distributions,” American
-    Anthropologist, Vol. 32, No. 3, 1930 and “Preliminary Classification
-    of Prehistoric Southwestern Basketry,” Smithsonian Miscellaneous
-    Collection, Vol. 87, No. 7, 1932, P. 40.
-
-[2]Dr. Alfred Rehder, Curator of Herbarium of Arnold Arboretum, Harvard
-    University.
-
-[3]C. V. Morton, Assistant “Curator of Plants” Smithsonian Institution,
-    letter to A. Wetmore, April 14, 1943. Also. “Trees and Shrubs,”
-    Chas. Sargent, 1905, Vol. 1, 139 and “Manual of Flowering Plants of
-    California.” Willis Linn Jepson. 1823.
-
-[4]Dr. F. G. Speck, “Chapters in Ethnology of the Powhatan Tribes of
-    Virginia,” Indian Notes and monographs, Museum of the American
-    Indian (Heye Foundation) New York, Vol. 1, No. 5, 1928, P. P.
-    385-388, F. G. 88.
-
-[5]Rather extensive discussion and illustration of honeysuckle root
-    baskets by the white mountaineers of the South are given by A. H.
-    Eaton “Handicrafts of the Southern Highlands.” Russel Sage
-    Foundation, N. Y. 1937, pp. 174-5, 115-209. No dating is attempted.
-
-
-
-
-                                 INDEX
-
-
-                                    Page                   Plate
-
-  Ahcacon                 25                        3a, 3b, 3c
-  Aleut                   22, 23                    1c, 1d
-  Algonquin               19                        3d, 7c
-  Alibamu                 18                        5d
-  Apache                  3                         6c
-     Chiricahua           5, 15                     2a
-     San Carlos           5
-     Tonto                5, 14                     6c
-     Western              5                         13a
-     White Mountain       12, 14                    17c
-     Yavapai              4, 5                      12d
-  At the Landing of the   7
-      Pilgrims
-  Attu                    22, 23                    1c, 1d
-  Autobiography           31
-  Basket:
-     Baby Cradle          24, 25                    3a, 3b, 3c
-     Bag, Corn Husk       18                        15a
-     Baleen               21, 22                    1b
-     Berry                15, 19                    5a, 5b
-     Birchbark            19, 21                    3d, 7c, 7d, 8c
-     Bird Cage            3
-     Boiling              17                        9c
-     Bowl                 4, 15, 23                 8b, 10b, 11b, 11c,
-                                                    12b
-     Canoe                19                        7c
-     Burden               16, 17                    9a, 13c, 13d, 14a,
-                                                    14c, 14d
-     Carrying             12, 16, 17                9a, 13c, 13d, 14a,
-                                                    14c, 14d, 17c
-     Ceremonial           6, 8, 9, 10, 11, 12, 13   17a, 17b, 17c, 18a,
-                                                    18b, 18c, 18d, 19a,
-                                                    19b, 19c, 20
-     Clam                 4                         9c, 14b
-     Colander             3                         10a
-     Cooking              3, 19                     5a, 9c
-     Corn Husk            18                        15a
-     Effigy               18                        5c, 5d
-     Coming Out Dance     12, 13                    17c
-     Egg                  30
-     Feathered            8, 12                     18b, 18c, 18d
-     Fishing Creel        19                        3d
-     Fish Trap            3                         4a
-     Food Bowl            4, 15                     8b, 10b, 11b, 11c,
-                                                    12b
-     Gambling             23                        4b, 4c, 4d
-     Gathering            4, 15, 19                 5a, 5b, 8c, 14a, 14b
-     Grasshopper          16                        10c, 14a
-     Harvest              4, 16                     9a
-     Historical           7, 15                     2c, 2d, 5b
-     Household            14                        15b, 15c, 15d, 16a,
-                                                    16b, 16c, 16d
-     Ideas Copied         3                         4a, 10a
-     Initiation Ceremony  10                        20
-     Jumping Dance        9                         18a
-     Kachina              15                        8b
-     Manioc Press         24                        11a
-     Market               30
-     Miniatures           20
-     Moose Hair           21                        8d
-     Mortuary             8                         18c, 18d
-     Mourning Bowl        9                         17d
-     Plaque               10, 11                    19a, 20
-     Porridge Bowl        4                         10b
-     Quilled              20                        1a
-     Quiver               25                        21
-     Rinsing              4                         19d
-     Roasting Tray        18                        9d
-     Root Runner          26, 27, 28, 29, 30
-     Sally Bag            18                        15a
-     Seed Container       13                        7b
-     Soyal                10                        20
-     Squash Blossom       19                        9b
-     Stewing              16                        10c
-     Storage              3, 4, 13, 14              6a, 6b, 6c, 6d, 7a,
-                                                    7b, 7c, 7d, 8a, 8b
-     Tray                 4, 18, 19, 23             4d, 8c, 9b, 9d, 10d
-     Trinkets             18, 21                    1b, 5c, 5d, 8d
-     Tump-line            16                        13c
-     Unique Designs       4                         6b, 10d, 11b, 11c,
-                                                    12a, 12c, 12d, 15c,
-                                                    16c, 19d
-     Utilitarian          7                         2c, 2d
-     Wall Pocket          4                         16c
-     Watertight           15, 17                    2a, 2b, 9c
-     Water Bottle         15                        2a, 2b
-     Wedding              10, 11, 12                18b, 19a, 19b, 19c
-     Whalebone            21, 22                    1b
-     Wild Rice            19                        8c
-     Wine                 8                         17b
-     Winnowing            19                        9b
-  Basketry
-     Aleut Island         22, 23                    1c, 1d
-     Birchbark            19, 21                    3d, 7c, 7d, 8c, 8d
-     Early                3
-     General              1, 2
-     Root Runner          26, 27, 28, 29, 30
-     Western Apache       5                         13a
-  Basket Makers           13                        7b
-  Blow Gun                25                        21
-  Bluff Dwellers          3
-  Bottle                  15                        2a, 2b
-  Bowl                    4, 15, 23                 4c, 8b, 10b, 11b,
-                                                    11c, 12b
-  Buckbrush               30
-  Box
-     Canoe                19                        7c
-     Storage              19                        7c, 7d
-     Household            20                        1a
-     Trinket              21                        8d
-  Catawba                 3                         4a
-  Central America         24                        11a
-  Cacique                 10
-  Cahuilla                4, 16                     9a, 12a, 14a
-  Carib                   24                        11a
-  Chemehueve              4                         12c
-  Cherokee                1, 14, 16, 25, 26, 27,    15b, 16d, 21
-                          29, 30
-  Cheyenne                23
-  Chippewa                19, 20                    1a, 7d, 8c
-  Chiricahua              5, 15                     2a
-  Chitimacha              4, 14                     15c
-  Choctaw                 4, 15                     5b, 16c
-  Cochiti                 3
-  Coming Out Dance        12, 13                    17c
-  Decoration
-     False Embroidery     18                        15a
-     Feather              8, 12                     18b, 18c, 18d
-     Imbricated           19                        5a
-     Moose Hair           21                        8d
-     Painted              7                         2d
-     Quilled              20                        1a
-  Dotsolalee              6, 7                      17a
-  Effigy                  18                        5c, 5d
-  Embroidery, Moose Hair  21                        8d
-  Eskimo                  21, 22                    1b
-  Feathered               8, 12                     18b, 18c, 18d
-  Feast of the Dead       9                         17d
-  Frazier River           24
-  Gabrielenos             16                        14d
-  Gambling Devices        23                        4b, 4c, 4d
-  Grasshopper             16                        10c, 14a
-  Gum Covered             15                        2a, 2b
-  Havasupai               15                        2b
-  Honeysuckle             1, 27, 28, 29, 30
-  Historical              7                         2c, 2d
-  Hoopa                   4, 9, 14, 24              3b, 10d, 15d, 18a
-  Hopi                    2, 10, 15, 24             8b, 19a, 20
-  Houma                   25
-  Huron                   21                        8d
-  Imbricated              19                        5a
-  Karoc                   16                        13c
-  Kiaha                   17                        13d
-  Kiva                    10
-  Klamath                 23
-  Mattaponi               28
-  Malecite                21                        8d
-  Maidu                   16                        14c
-  Menominee               9                         17d
-  Miniatures              20
-  Mission                 4, 16                     9a, 11b, 12a, 14a,
-                                                    14d
-  Modoc                   18                        9d
-  Mono-Paiute             24
-  Nahwehteete             8
-  Navajo                  10, 15                    19b
-  Niantic                 4                         19d
-  Ottawa                  13                        6d
-  Paiute                  4, 10, 16                 10b, 10c, 19c
-  Papago                  2, 8, 17, 18              5c, 13d, 17b
-  Pamunkey                28
-  Panamint                4                         6b, 11c, 12b
-  Passamaquoddy           21                        8d
-  Pawnee                  23                        4d
-  Pennacook               7                         2d
-  Penobscot               3                         10a
-  Pilgrims                7                         2c
-  Pima                    1, 19                     9b
-  Platter                 4                         12a, 12c, 12d
-  Plaques                 10, 11                    19a, 20
-  Pomo                    8, 12, 23, 24             3a, 4b, 18b, 18c,
-                                                    18d
-  Porcupine Quills        20                        1a
-  Pueblo                  13, 24                    7b
-  Quileutes               16
-  Quill Decoration        20                        1a
-  Quinault                4                         14b
-  Quiver                  25                        21
-  Rappahannock            14, 28                    16b
-  Rinsing Basket          4                         19d
-  Root Runner Basketry    26, 27, 28, 29, 30
-  San Carlos              5
-  Seneca-Cayuga           23                        4c
-  Shoshone                4                         6b, 11c, 12b
-  Soyal                   10                        20
-  Specimens No Longer     3                         6c, 9c
-      Made and Why
-  Speck, Frank G.         26, 28, 29
-  Symbolic Designs        5                         12b
-  Thlinkits               17                        9c
-  Tray                    4, 18, 19, 23             4d, 9b, 9d, 10d
-  Tonto                   5, 14                     6c
-  Umatilla                18                        15a
-  Ute                     24, 25                    3c
-  Vanishing Indian        4
-  Wampanoag               7                         2c
-  Whalebone               21, 22                    1b
-  White Mountain Apache   12, 14                    17c
-  Wickiup                 16
-  Washoe                  6, 7                      17a
-  Western Apache          5                         13a
-  Yakima                  19                        5a
-  Yavapai Apache          4, 5                      12d
-  Yuki                    27
-  Yokut                   14                        16a
-  Yurok                   18                        9d
-  Zuni                    16
-
-
-
-
-                          Transcriber’s Notes
-
-
-—Retained publication information from the printed edition: this eBook
-  is public-domain in the country of publication.
-
-—Silently corrected a few typos.
-
-—Modified some references to plates for more convenient hyperlinking
-  (e.g., “Plate 17a & c” changed to “Plate 17a, 17c”).
-
-—In the text versions only, text in italics is delimited by
-  _underscores_.
-
-
-
-
-
-
-
-End of the Project Gutenberg EBook of The Art and the Romance of Indian
-Basketry, by Clark Field
-
-*** END OF THIS PROJECT GUTENBERG EBOOK ART, ROMANCE OF INDIAN BASKETRY ***
-
-***** This file should be named 62285-0.txt or 62285-0.zip *****
-This and all associated files of various formats will be found in:
-        http://www.gutenberg.org/6/2/2/8/62285/
-
-Produced by Stephen Hutcheson and the Online Distributed
-Proofreading Team at https://www.pgdp.net
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law 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. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  This eBook is for the use of anyone anywhere in the United States and
-  most other parts of the world 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. If you are not located in the
-  United States, you'll have to check the laws of the country where you
-  are located before using this ebook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-
-
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
-    Dr. Gregory B. Newby
-    Chief Executive and Director
-    gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
diff --git a/old/62285-0.zip b/old/62285-0.zip
deleted file mode 100644
index e777d78..0000000
--- a/old/62285-0.zip
+++ /dev/null
diff --git a/old/62285-h.zip b/old/62285-h.zip
deleted file mode 100644
index 9830371..0000000
--- a/old/62285-h.zip
+++ /dev/null
diff --git a/old/62285-h/62285-h.htm b/old/62285-h/62285-h.htm
deleted file mode 100644
index d5cff8a..0000000
--- a/old/62285-h/62285-h.htm
+++ /dev/null
@@ -1,2901 +0,0 @@
-<!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" xml:lang="en" lang="en">
-<head>
-<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
-<meta http-equiv="Content-Style-Type" content="text/css" />
-<meta name="viewport" content="width=device-width, initial-scale=1.0" />
-<title>The Art and the Romance of Indian Basketry, by Clark Field&mdash;a Project Gutenberg eBook</title>
-<meta name="author" content="Clark Field" />
-<meta name="pss.pubdate" content="1964" />
-<link rel="coverpage" href="images/cover.jpg" />
-<link rel="spine" href="images/spine.jpg" />
-<link rel="schema.DC" href="http://dublincore.org/documents/1998/09/dces/" />
-<meta name="DC.Title" content="The Art and the Romance of Indian Basketry" />
-<meta name="DC.Language" content="en" />
-<meta name="DC.Format" content="text/html" />
-<meta name="DC.Created" content="1964" />
-<meta name="DC.Creator" content="Clark Field" />
-<style type="text/css">
-/* == GLOBAL MARKUP == */
-body, table.twocol tr td  { margin-left:2em; margin-right:2em; }   /* BODY */
-.box     { border-style:double; margin-bottom:2em; max-width:30em; margin-right:auto; margin-left:auto; margin-top:2em; clear:both; }
-.box div.box  { border-style:solid; margin-right:auto; margin-left:auto; max-width:26em; }
-.box p   { margin-right:1em; margin-left:1em; }
-.box dl  { margin-right:1em; margin-left:1em; }
-h1, h2, h5, h6, .titlepg p { text-align:center; clear:both; text-indent:0; }   /* HEADINGS */
-h2                { margin-top:2.0em; margin-bottom:1em; font-size:110%; text-align:center; }
-h2 .small         { font-size:100%; }
-h1                { margin-top:3em; }
-h1 .likep         { font-weight:normal; font-size:50%; }
-div.box h1        { margin-top:1em; margin-left:.5em; margin-right:.5em; }
-h3                { margin-top:2.5em; text-align:center; font-size: 100%; clear:both; }
-h4, h5            { font-size:100%; text-align:right; clear:right; }
-h6                { font-size:100%; }
-h6.var            { font-size:80%; font-style:normal; }
-.titlepg          { margin-left:auto; margin-right:auto; border-style:double; clear:both; }
-span.chaptertitle { font-style:normal; display:block; text-align:center; font-size:150%; text-indent:0; }
-.tblttl           { text-align:center; text-indent:0;}
-.tblsttl          { text-align:center; font-variant:small-caps; text-indent:0; }
-
-pre sub.ms { width:4em; letter-spacing:1em; }
-table.fmla { text-align:center; margin-top:0em; margin-bottom:0em; margin-left:0em; margin-right:0em; }
-table.inline, table.symbol { display: inline-table; vertical-align: middle; }
-td.cola           { text-align:left; vertical-align:100%; }
-td.colb           { text-align:justify; }
-
-p, blockquote, div.p, div.bq { text-align:justify; }                              /* PARAGRAPHS */
-div.p, div.bq   { margin-top:1em; margin-bottom:1em; }
-blockquote, .bq { margin-left:1em; margin-right:0em; }
-.verse    { font-size:100%; }
-p.indent  {text-indent:2em; text-align:left; }
-p.tb, p.tbcenter, verse.tb, blockquote.tb      { margin-top:2em; }
-
-span.pb, div.pb, dt.pb, p.pb                   /* PAGE BREAKS */
-{ text-align:right; float:right; margin-right:0em; clear:right; }
-div.pb { display:inline; }
-.pb, dt.pb, dl.toc dt.pb, dl.tocl dt.pb, dl.undent dt.pb, dl.index dt.pb    { text-align:right; float:right; margin-left: 1.5em;
-         margin-top:.5em; margin-bottom:.5em; display:inline; text-indent:0;
-         font-size:80%; font-style:normal; font-weight:bold;
-         color:gray; border:1px solid gray;padding:1px 3px; }
-div.index .pb  { display:block; }
-.bq  div.pb, .bq span.pb  { font-size:90%; margin-right:2em; }
-
-div.img, body a img  {text-align:center; margin-left:auto; margin-right:auto; margin-top:2em; margin-bottom:2em; clear:right; }
-
-sup, a.fn { font-size:75%; vertical-align:100%; line-height:50%; font-weight:normal; }
-h3   a.fn { font-size:65%; }
-sub { font-size:75%; }
-.center, .tbcenter       { text-align:center; clear:both; text-indent:0; }                  /* TEXTUAL MARKUP */
-span.center              { display:block; }
-table.center { clear:both; margin-right:auto; margin-left:auto; }
-table.center tr td.l  {text-align:left; margin-left:0em; }
-table.center tr td.j  {text-align:justify; }
-table.center tr td.ltab { text-align:left; width:1.5em; }
-table.center tr td.t  {text-align:left; text-indent:1em; }
-table.center tr td.t2 {text-align:left; text-indent:2em; }
-table.center tr td.r, table.center tr th.r  {text-align:right; }
-table.center tr th.rx  { width:4.5em; text-align:right; }
-table.center tr th    {vertical-align:bottom; }
-table.center tr td    {vertical-align:top; }
-table.inline, table.symbol { display: inline-table; vertical-align: middle; }
-
-p           { clear:left; }
-.small, .lsmall      { font-size:90%; }
-.smaller    { font-size:80%; }
-.smallest   { font-size:67%; }
-.larger     { font-size:150%; }
-.large      { font-size:125%; }
-.xlarge     { font-size:150%; }
-.xxlarge    { font-size:200%; }
-.gs         { letter-spacing:1em; }
-.gs3        { letter-spacing:2em; }
-.gslarge    { letter-spacing:.3em; font-size:110%; }
-.sc         { font-variant:small-caps; font-style:normal; }
-.unbold     { font-weight:normal; }
-.xo         { position:relative; left:-.3em; }
-.over       { text-decoration: overline; display:inline; }
-hr          { width:20%; margin-left:40%; clear:both; }
-hr.dwide    { margin-top:0; margin-bottom:0; width:90%; margin-left:5%; }
-hr.double   { margin-top:0; margin-bottom:0; width:100%; margin-left:0; margin-right:0; }
-hr.f        { margin-top:0; margin-bottom:0; width:100%; margin-left:0; }
-.jl         { text-align:left; }
-.jr, .jri   { text-align:right; min-width:2em; display:inline-block; float:right; }
-.pcap .jri  { font-size:80%; }
-.jr1        { text-align:right; margin-right:0em; }
-h1 .jr      { margin-right:.5em; }
-.ind1       { text-align:left;  margin-left:2em; }
-.u          { text-decoration:underline; }
-.hst        { margin-left:1em; }
-.hst2        { margin-left:2em; }
-.rubric     { color:red; }
-.blue       { color:blue;   background-color:white; }
-.green      { color:green;  background-color:white; }
-.yellow     { color:yellow; background-color:white; }
-.white      { color:white; background-color:black; margin-left:1em; margin-right:1em; max-width:28em; }
-.cnwhite    { color:white; background-color:black; min-width:2em; display:inline-block;
-              text-align:center; font-weight:bold; font-family:sans-serif; }
-.cwhite     { color:white; background-color:black; text-align:center; font-weight:bold;
-              font-family:sans-serif; }
-ul  li      { text-align:justify; }
-u.dbl       { text-decoration:underline; }
-.ss         { font-family:sans-serif; font-weight:bold; }
-.ssn        { font-family:sans-serif; font-weight:normal; }
-p.revint    { margin-left:2em; text-indent:-2em; }
-p.revint2   { margin-left:5em; text-indent:-3em; }
-p.revint2 .cn { min-width:2.5em; text-indent:0; text-align:left; display:inline-block; margin-right:.5em; }
-i .f        { font-style:normal; }
-.b          { font-weight:bold; }
-.i          { font-style:italic; }
-.f          { font-style:italic; font-weight:bold; }
-
-dd.t           { text-align:left; margin-left: 5.5em; }
-dl.toc         { clear:both; margin-top:1em; }                    /* CONTENTS (.TOC) */
-.toc  dt.center    { text-align:center; clear:both; margin-top:3em; margin-bottom:1em; text-indent:0;}
-.toc  dt      { text-align:right; clear:left; }
-.toc  dt.just { text-align:justify; margin-left:2em; margin-right:2em; }
-.toc  dd      { text-align:right; clear:both; }
-.toc  dd.ddt  { text-align:right; clear:both; margin-left:4em; }
-.toc  dd.ddt2 { text-align:right; clear:both; margin-left:5em; }
-.toc  dd.ddt3 { text-align:right; clear:both; margin-left:6em; }
-.toc  dd.ddt4 { text-align:right; clear:both; margin-left:7em; }
-.toc  dd.ddt5 { text-align:right; clear:both; margin-left:8em; }
-.toc  dd.note { text-align:justify; clear:both; margin-left:5em; text-indent:-1em; margin-right:3em; }
-.toc  dt .xxxtest {width:17em; display:block; position:relative; left:4em; }
-.toc  dt  a,
-.toc  dd  a,
-.toc dt span.left,
-.toc dt span.lsmall,
-.toc dd span.left { text-align:left; clear:right; float:left; }
-.toc  dt  a  span.cn { width:4em; text-align:right; margin-right:.7em;  float:left; }
-.toc  dt.sc   { text-align:right;  clear:both; }
-.toc  dt.scl  { text-align:left;   clear:both; font-variant:small-caps; }
-.toc  dt.sct  { text-align:right;  clear:both; font-variant:small-caps; margin-left:1em; }
-.toc  dt.jl   { text-align:left;   clear:both; font-variant:normal; }
-.toc  dt.scc  { text-align:center; clear:both; font-variant:small-caps; text-indent:0; }
-.toc  dt span.lj, span.lj { text-align:left; display:block; float:left; }
-.toc  dd.center { text-align:center; text-indent:0; }
-dd.tocsummary {text-align:justify; margin-right:2em; margin-left:2em; }
-dd.center .sc  {display:block; text-align:center; text-indent:0; }
-/* BOX CELL */
-td.top { border-top:1px    solid; width:.5em; height:.8em; }
-td.bot { border-bottom:1px solid; width:.5em; height:.8em; }
-td.rb  { border:1px solid; border-left:none;  width:.5em; height:.8em;  }
-td.lb  { border:1px solid; border-right:none; width:.5em; height:.8em;  }
-td span.cellt   { text-indent:1em; }
-td span.cellt2  { text-indent:2em; }
-td span.cellt3  { text-indent:3em; }
-td span.cellt4  { text-indent:4em; }
-
-/* INDEX (.INDEX) */
-dl.index   { clear:both; }
-.index dt  { margin-left:2em; text-indent:-2em; text-align:left; }
-.index dd  { margin-left:4em; text-indent:-2em; text-align:left; }
-.index dd.t  { margin-left:6em; text-indent:-2em; text-align:left; }
-.index dt.center {text-align:center; text-indent:0; }
-  dl.indexlr     { clear:both; margin-left:auto; margin-right:auto; max-width:20em; }
-  dl.indexlr dt  { clear:both; text-align:right; }
-  dl.indexlr dt span { text-align:left; display:block; float:left; }
-  dl.indexlr dt.center {text-align:center; text-indent:0; }
-.ab, .ab1, .ab2 {
-font-weight:bold; text-decoration:none;
-border-style:solid; border-color:gray; border-width:1px;
-margin-right:0px; margin-top:5px; display:inline-block; text-align:center; text-indent:0; }
-.ab { width:1em; }
-.ab2 { width:1.5em; }
-a.gloss { background-color:#f2f2f2; border-bottom-style:dotted; text-decoration:none; border-color:#c0c0c0; color:inherit; }
-                                                           /* FOOTNOTE BLOCKS */
-div.notes p  { margin-left:1em; text-indent:-1em; text-align:justify; }
-
-dl.undent dd    { margin-left:3em; text-indent:-2em; text-align:justify; }
-dl.undent dt    { margin-left:2em; text-indent:-2em; text-align:justify; clear:both; }
-dl.undent dd.t  { margin-left:4em; text-indent:-2em; text-align:justify; }
-                                                           /* POETRY LINE NUMBER */
-.lnum   { text-align:right; float:right; margin-left:.5em; display:inline; }
-
-.hymn     { text-align:left; }                                  /*  HYMN AND VERSE: HTML  */
-.verse    { text-align:left; margin-top:1em; margin-bottom:1em; margin-left:0em; }
-.versetb  { text-align:left; margin-top:2em; margin-bottom:1em; margin-left:0em; }
-.originc  { text-align:center; text-indent:0; }
-.subttl   { text-align:center; font-size:80%; text-indent:0; }
-.srcttl   { text-align:center; font-size:80%; text-indent:0; font-weight:bold; }
-p.lc      { text-indent:0; text-align:center; margin-top:0; margin-bottom:0; }
-p.t0, p.l { margin-left:4em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.lb                 { margin-left:4em;  text-indent:-3em; margin-top:2em; margin-bottom:0; text-align:left; }
-p.tw, div.tw, .tw    { margin-left:1em;  text-indent:-1em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t,  div.t,  .t     { margin-left:5em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t2,  div.t2,  .t2  { margin-left:6em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t3,  div.t3,  .t3  { margin-left:7em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t4,  div.t4,  .t4  { margin-left:8em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t5,  div.t5,  .t5  { margin-left:9em;  text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t6,  div.t6,  .t6  { margin-left:10em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t7,  div.t7,  .t7  { margin-left:11em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t8,  div.t8,  .t8  { margin-left:12em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t9,  div.t9,  .t9  { margin-left:13em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t10, div.t10,.t10  { margin-left:14em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t11, div.t11,.t11  { margin-left:15em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t12, div.t12,.t12  { margin-left:16em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t13, div.t13,.t13  { margin-left:17em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t14, div.t14,.t14  { margin-left:18em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.t15, div.t15,.t15  { margin-left:19em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; }
-p.lr, div.lr, span.lr { display:block; margin-left:0em; margin-right:0em; margin-top:0; margin-bottom:0; text-align:right; }
-dt.lr                { width:100%; margin-left:0em; margin-right:0em; margin-top:0; margin-bottom:0; margin-top:1em; text-align:right; }
-dl dt.lr a           { text-align:left; clear:left; float:left; }
-
-.fnblock   { margin-top:2em; margin-bottom:2em; }
-.fndef, p.fn     { text-align:justify; margin-top:1.5em; margin-left:1.5em; text-indent:-1.5em; }
-.fndef p.fncont, .fndef dl { margin-left:0em; text-indent:0em; }
-.fnblock div.fncont { margin-left:1.5em; text-indent:0em; margin-top:1em; text-align:justify; }
-.fnblock dl  { margin-top:0; margin-left:4em; text-indent:-2em; }
-.fnblock dt  { text-align:justify; }
-dl.catalog dd { font-style:italic; }
-dl.catalog dt { margin-top:1em; }
-.author { text-align:right; margin-top:0em; margin-bottom:0em; display:block; }
-
-dl.biblio  dt        { margin-top:.6em; margin-left:2em; text-indent:-2em; text-align:justify; clear:both; }
-dl.biblio  dt  div   { display:block; float:left; margin-left:-6em; width:6em; clear:both; }
-dl.biblio  dt.center { margin-left:0em; text-align:center; text-indent:0; }
-dl.biblio  dd        { margin-top:.3em; margin-left:3em; text-align:justify; font-size:90%; }
-p.biblio             { margin-left:2em; text-indent:-2em; }
-.clear     { clear:both; }
-p.book     { margin-left:2em; text-indent:-2em; }
-p.review   { margin-left:2em; text-indent:-2em; font-size:80%; }
-p.pcap     { margin-left:0em; text-indent:0; text-align:center; margin-top:0; font-size:90%; font-weight:bold; font-family:sans-serif; }
-p.pcapc    { margin-left:4.7em; text-indent:0em; text-align:justify; }
-span.attr  { font-size:80%; font-family:sans-serif; }
-span.pn    { display:inline-block; width:4.7em; text-align:left; margin-left:0; text-indent:0; }
-</style>
-</head>
-<body>
-
-
-<pre>
-
-The Project Gutenberg EBook of The Art and the Romance of Indian Basketry, by 
-Clark Field
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world 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.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: The Art and the Romance of Indian Basketry
-       Clark Field Collection, Philbrook Art Center, Tulsa, 1964
-
-Author: Clark Field
-
-Release Date: May 30, 2020 [EBook #62285]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK ART, ROMANCE OF INDIAN BASKETRY ***
-
-
-
-
-Produced by Stephen Hutcheson and the Online Distributed
-Proofreading Team at https://www.pgdp.net
-
-
-
-
-
-
-</pre>
-
-<div id="cover" class="img">
-<img id="coverpage" src="images/cover.jpg" alt="The Art and the Romance of Indian Basketry" width="500" height="785" />
-</div>
-<div class="box">
-<h1>the art and
-<br />the romance
-<br />of
-<br />indian basketry</h1>
-<p class="tbcenter"><span class="larger"><b>clark field</b></span></p>
-<p class="center xlarge b">clark field collection
-<br />philbrook art center &#149; tulsa &#149; 1964</p>
-<p class="center small"><i>Published by Philbrook Art Center
-<br />Tulsa, Oklahoma
-<br />1964</i></p>
-</div>
-<div class="pb" id="Page_i">i</div>
-<h2 id="c1"><span class="small">FOREWORD</span></h2>
-<p>The autobiographical information about Mr. Clark Field,
-which appears at the <a href="#c79">end of this brochure</a>, briefly tells the
-inspiring story of well over four decades of dedication to&mdash;and
-sincere belief in&mdash;the American Indian as a creative
-artist. The results of these many years of collecting
-Indian baskets (and pottery) are on permanent display
-at Philbrook Art Center, in the Clark Field Collection; in
-addition, many other specimens are in storage and available
-to the scholar in the study collection. This brochure
-is not intended as a catalogue of all of the baskets in the
-Clark Field Collection, which includes more than a thousand
-specimens. Rather, it serves as an introduction to
-Indian basketry and tells the story of how baskets were
-made and used. About 90 of the more important baskets
-are illustrated, including the most famous American Indian
-basket, woven by Dotsolalee reproduced in color
-on the <a href="#cover">cover</a>.</p>
-<p>Mr. Field has combined his enthusiasm for the art of
-Indian basketry with a high degree of scientific scholarship.
-He has kept careful records, which will become
-increasingly valuable as old specimens become even more
-rare and this Indian skill gradually dies out in this modern
-world. His daughter, Dorothy Field Maxwell, has assisted
-Mr. and Mrs. Field in their collection and with the preparation
-of this brochure. Mrs. Jeanne Snodgrass, Curator
-of Indian Art at Philbrook, has also assisted with the
-brochure in an editorial capacity.</p>
-<p>Mr. Field has performed an invaluable service to
-humanity in his long dedication to the preservation of
-this most important facet of the original Americans, and
-Philbrook Art Center will be, for countless generations,
-a mecca for those who wish to enjoy this fascinating utilitarian,
-yet esthetically meaningful art form.</p>
-<p><span class="lr"><span class="sc">Donald G. Humphrey</span></span>
-<span class="lr">Director</span>
-<span class="lr">Philbrook Art Center</span>
-<span class="lr"><span class="large"><i>Clark Field</i></span></span></p>
-<div class="pb" id="Page_1">1</div>
-<h2 id="c2"><span class="small">BASKETRY</span></h2>
-<p>The need for food containers in early human communities
-led to the &ldquo;invention&rdquo; of basketry. The first
-baskets may have been made of animal skin or twigs;
-but soon evolved into the use of more suitable materials
-such as vegetable fibres. Because of the organic materials
-used in making baskets, most of the earliest examples
-have been lost through decay. A few examples have been
-preserved but only in areas of extremely dry climate,
-such as in Egypt, in Chile and Peru in South America, and
-in the southwestern United States. Radiocarbon tests of
-woven artifacts establish the existence and the use of
-baskets in Nevada, Utah and Oregon as early as 9000 to
-700 B.C., and that Egyptians of the pre-dynastic period
-(c. 5000 B.C.) used baskets. Early literary sources, such
-as the Bible, mention baskets and other woven articles such
-as the &ldquo;ark of bulrushes&rdquo; in which the infant Moses was
-hidden (Exod. 2: 3, 53); baskets were used to bring the
-tithes to the temple, and Matthew talked of &ldquo;twelve
-baskets full.&rdquo; (Matt. 14: 20.)</p>
-<p>In the study of American Indian baskets there are
-three major factors to be considered: the first is the tribe
-which produced the basket; the second is the language,
-since inter-marriage among tribes produced varying cultures;
-the third factor is the weave of the basket itself.
-For example, the five major weaves used by American
-Indians are: Coil, Twine, Twill, Wicker and Imbricated.
-To the novice there is the obvious difference in shape,
-color and texture of a collection of Indian baskets viewed
-in a museum. To the collector there is the hint of the whole
-pattern of life of the Indians who produced the basket.</p>
-<p>The materials used in any particular basket reflect the
-locale of the tribe which produced it, for the Indian used
-materials that were at hand. In the case of the <i>Cherokees</i>,
-a native variety of red honey suckle produced runners that
-were used by that tribe in Virginia in a wicker-type weave.
-In North Carolina, the same tribe utilized the Japanese
-honeysuckle, while in Oklahoma the tribe used buckbrush
-runners. In Arizona, the <i>Pimas</i> wove split willow twigs
-and the black Martyna or &ldquo;Devil&rsquo;s Claw&rdquo; of their desert
-lands.</p>
-<div class="pb" id="Page_2">2</div>
-<p>It is the Indian woman, not the man, who makes baskets
-(except for few instances, i.e., the <i>Papago</i> carrying basket).
-They are made either for utilitarian use or for ceremonial
-use. Basket designs are not taught to the craftsman nor
-are they copied from a pattern book. They are created
-by the individual weaver who is an artist of great ability.
-The artist-craftsman must first develop a manner of weaving
-that will form a shape adequate for the basket&rsquo;s final
-use. She must then find suitable materials in her area for
-this weaving project. This step completed, she mentally
-creates a decorative design and invents a method of
-weaving it into the basket.</p>
-<p>It is known that all North American Indian tribes, at
-some time in their history, made and used baskets. However,
-the finest and most decorative baskets were made
-about the middle of the 19th century, in the Northwest,
-down the Pacific Coast states and into the Southwest
-through Arizona and New Mexico.</p>
-<p>In 1935 there were more than five hundred <i>Pima</i> Indians making baskets for their own use. Now there are
-less than six good weavers on that reservation. Today
-<i>Papago</i> Indians make some baskets for tourist trade, but
-not nearly as many as they made a few years ago. The
-<i>Hopi</i> Indians bring a few baskets to market places, but
-there are fewer and fewer each year. For example: at the
-1964 Inter-Tribal Indian Ceremonials, Gallup, New Mexico,
-there were forty classifications in the basketry competition&mdash;baskets
-were submitted to only twenty-seven
-classifications. There are some basket weavers among
-other tribes but for the most part, few tribes today may
-be called &ldquo;basket makers.&rdquo;</p>
-<p>The influence of other culture groups upon the craft
-of basket weaving is so great that each year fewer baskets
-are produced by the regular weavers. The Indian women
-have learned that they can secure mass produced articles
-as a substitute for baskets. Only two percent of the types
-of baskets included in this collection are now being made.
-It is quite probable that by the year 2000 there will be
-NO Indian baskets being woven.</p>
-<div class="pb" id="Page_3">3</div>
-<h2 id="c3"><span class="small">EARLY BASKETRY</span></h2>
-<h3 id="c4"><i>Ozark Mountains of Arkansas</i></h3>
-<p>Very few people are aware that baskets were made by
-the Ozark &ldquo;Bluff Dwellers.&rdquo; A special exhibit in the University
-of Arkansas Museum, Fayetteville, contains a small
-basket filled with grasshoppers. The University Museum
-points out that as long ago as the year 1 A.D., baskets
-were being made by Indians in the Ozark Area. This
-provides further evidence of the Indian&rsquo;s early inhabitance
-of this country.</p>
-<h2 id="c5"><span class="small">BASKETS WHICH ARE NO LONGER MADE&mdash;AND WHY</span></h2>
-<p>Case No. 5:</p>
-<p>These tightly woven baskets made by <i>Thlinkits</i> of
-Alaska, were woven from spruce tree roots which were
-split by hand. The baskets were used to hold boiling
-water for clam cooking. The fibers swelled to such
-an extent that water could be retained in the basket for
-as long as five hours. Today this tribe purchases a kettle
-or bucket for their boiling needs.
-<span class="lr">(See <a class="htm" href="#fig9c">Plate 9c</a>)</span></p>
-<p>Case No. 7:</p>
-<p>These large <i>Apache</i> baskets used for storing grain,
-were made about 1874. It required as long as three
-months to produce this type of specimen and since 1914
-very few have been made. The twenty-five cent burlap
-sack has replaced it.
-<span class="lr">(See <a class="htm" href="#fig6c">Plate 6c</a>)</span></p>
-<p>Case No. 9:</p>
-<p>This <i>Cochiti</i> bird cage, made of a yucca plant, has
-been replaced by metal bird cages.</p>
-<h2 id="c6"><span class="small">IDEAS COPIED FROM INDIAN BASKETS</span></h2>
-<p>The Anglo appropriated many Indian basket ideas for
-his own use:</p>
-<p>The <i>Penobscot</i> colander was found in use as such
-among the people of this Maine tribe and was made about
-1841. It is quite possible that we took this as a pattern
-for our own metal colanders.
-<span class="lr">(See <a class="htm" href="#fig10a">Plate 10a</a>)</span></p>
-<p>It is also quite possible that we copied the pattern of
-the <i>Catawba</i>, North Carolina, fish trap for our own minnow
-trap.
-<span class="lr">(See <a class="htm" href="#fig4a">Plate 4a</a>)</span></p>
-<div class="pb" id="Page_4">4</div>
-<h2 id="c7"><span class="small">BASKETS OF UNIQUE DESIGNS AND USES</span></h2>
-<p>The average weaver does not use more than five
-or six figures in a design.</p>
-<p>Case No. 3: <i>Mission</i> of California&mdash;a quail and flying duck design.
-<span class="lr">(See <a class="htm" href="#fig11b">Plate 11b</a>)</span></p>
-<p>Case No. 3: <i>Shoshone</i> (Panamint), Death Valley California&mdash;Oriole design food bowl.
-<span class="lr">(See <a class="htm" href="#fig11c">Plate 11c</a>)</span></p>
-<p>Case No. 9: <i>Choctaw</i> of Oklahoma&mdash;Wall Pocket.
-<span class="lr">(See <a class="htm" href="#fig16c">Plate 16c</a>)</span></p>
-<p>Case No. 9: <i>Niantic</i> of Connecticut&mdash;clothes rinsing basket.
-<span class="lr">(See <a class="htm" href="#fig19d">Plate 19d</a>)</span></p>
-<p>Case No. 10: <i>Chitimacha</i> of Louisiana&mdash;an alligator intestine design.
-<span class="lr">(See <a class="htm" href="#fig15c">Plate 15c</a>)</span></p>
-<p>Case No. 11: <i>Shoshone</i> (Panamint), Death Valley, California&mdash;seventy figures in the design; including
-the American Eagle, crow in a tree,
-rocky mountain sheep, and lizard tracks in
-the sand.
-<span class="lr">(See <a class="htm" href="#fig6b">Plate 6b</a>)</span></p>
-<p>Case No. 11: <i>Quinault</i> of Washington&mdash;Clam gathering basket.
-<span class="lr">(See <a class="htm" href="#fig14b">Plate 14b</a>)</span></p>
-<p>Case No. 12: <i>Cahuilla</i> of California&mdash;food platter rattlesnake design.
-<span class="lr">(See <a class="htm" href="#fig12a">Plate 12a</a>)</span></p>
-<p>Case No. 12: <i>Chemehueve</i> of Arizona&mdash;a &ldquo;stink bug&rdquo; design.
-<span class="lr">(See <a class="htm" href="#fig12c">Plate 12c</a>)</span></p>
-<p>Case No. 12: <i>Yavapai</i> Apache of Arizona&mdash;a tarantula design.
-<span class="lr">(See <a class="htm" href="#fig12d">Plate 12d</a>)</span></p>
-<p>Case No. 13: <i>Paiute</i> of Nevada&mdash;porridge bowl.
-<span class="lr">(See <a class="htm" href="#fig10b">Plate 10b</a>)</span></p>
-<p>Case No. 13: <i>Hoopa</i> of California&mdash;grinding tray and stone.
-<span class="lr">(See <a class="htm" href="#fig10d">Plate 10d</a>)</span></p>
-<h2 id="c8"><span class="small">THE VANISHING INDIAN?</span></h2>
-<p>The vanishing Indian? He is not vanishing! In 1890,
-the Indian population in North America numbered about
-one quarter million and in 1963, records reveal there are
-over one million Indians.</p>
-<div class="pb" id="Page_5">5</div>
-<h2 id="c9"><span class="small">SYMBOLIC DESIGNS?</span></h2>
-<p>There is the mistaken idea that one tribe &ldquo;understands&rdquo;
-the designs of another tribe and that there is symbolism,
-or meaning, to every design. Actually, <i>most</i> designs are
-purely decorative renderings and they have no more symbolism
-for the Indian than a fabric design has for the general
-public.</p>
-<p>The identification of a basket is made not through the
-interpretation of a &ldquo;mysterious meaning&rdquo; of the design
-but generally from the design motif itself. For instance,
-baskets made by tribes of southern California are distinguishable
-to the trained eye since they tend to be of
-a particularly heavy, bold and angular style. They seldom
-have <i>mysterious meanings</i>!
-<span class="lr">(See <a class="htm" href="#fig12b">Plate 12b</a>)</span></p>
-<h2 id="c10"><span class="small">BASKETRY</span></h2>
-<h3 id="c11"><i>Western Apache</i>&mdash;Arizona and New Mexico</h3>
-<p>Case No. 13:</p>
-<p>At one time it was not difficult to identify <i>Apache</i>
-Basketry by tribal name, such as: <i>San Carlos</i>, <i>Chiricahua</i>,
-<i>Tonto</i>, and <i>Yavapai</i>. Today it is not possible to identify
-baskets as belonging to a particular <i>Apache</i> tribe.</p>
-<p>During the nineteenth century these southwest tribes
-waged continual warfare with the Anglos and Spaniards
-who had settled in the area. Attempts were made by the
-United States government to establish treaties. However,
-newly written treaties were broken before the ink dried!
-About 1880, the army rounded up all the Apaches of
-Arizona and New Mexico and took them as prisoners to
-the <i>San Carlos Reservation</i>. There they remained confined
-for several years. During this period of confinement
-the basket weavers copied designs and weaving techniques
-from one another.</p>
-<p>When the tribes were released and allowed to return
-to their respective reservations the &ldquo;new&rdquo; styles of basketry
-were continued. As a result of this situation, today we
-find baskets woven by these tribes to be so similar in
-appearance that definite tribal affiliation cannot be determined.
-They are therefore classified only as <i>Western
-Apache</i> baskets.
-<span class="lr">(See <a class="htm" href="#fig13a">Plate 13a</a>)</span></p>
-<div class="pb" id="Page_6">6</div>
-<h2 id="c12"><span class="small">DATSOLALEE</span>
-<br />1918
-<br /><i>Washoe</i>&mdash;Western Nevada</h2>
-<p>Case No. 3:</p>
-<p>This basket was made by <i>Dabuda</i> (Young Willow).
-She was later given the nick-name of <i>Datsolalee</i> (Broad
-in the Hips) and is best known by this name since later
-in life she tipped the scales at 350 pounds.</p>
-<p>On March 26, 1917, <i>Datsolalee</i> started weaving this
-specimen which is fifty-two inches in circumference and
-has more than 100,000 stitches (more than thirty to the
-inch). Eleven months later, on February 16, 1918, she
-completed this basket which is her greatest masterpiece.
-Although made for ceremonial use, the shape is that of
-a food bowl. The white background is made of peeled
-twig from the Mountain Willow; the black color is the
-root of a Bracken, or giant fern; the reddish-brown is bark
-from the Nevada Redbud. To her the design meant: <i>We
-assemble to discuss the happy lives of our ancestors.</i>
-Shortly after the completion of this basket the weaver lost
-her eyesight. She died at the age of 95 in 1926.</p>
-<p>In 1958 the U. S. Indian Arts and Crafts Board,
-Department of the Interior, Washington, D.C., rated this
-basket as probably the finest specimen of basketry ever
-produced.</p>
-<p>During her lifetime, <i>Datsolalee</i> made only forty-six
-large scale baskets. During the summer months she could
-often be found at the resort area of Lake Tahoe, California,
-weaving miniature basketry which she sold to tourists for
-small sums. In 1914, Mrs. Henrietta K. Burton, from the
-Bureau of Indian Affairs in Washington, D.C., visited the
-artist&rsquo;s home in Carson City, Nevada. Mrs. Burton made
-numerous photographs of <i>Datsolalee</i> and her baskets for
-use in federal publications which dealt with Indian basketry.
-Since that time these photos have appeared in many
-other basketry publications.</p>
-<p>Due to the artist&rsquo;s reputation and ability, as well as
-the artistry and craftsmanship of this specimen it is valued
-at $2000. It is doubtful such a basket could ever again
-be produced&mdash;no weaver today shows ability such as
-that of <i>Datsolalee</i>. Her baskets are sought by collectors
-throughout the world.</p>
-<div class="pb" id="Page_7">7</div>
-<p>In 1914, G. A. Steiner, of Pittsburgh, Pennsylvania,
-purchased the finest basket the artist had produced up
-to that time. It is forty-nine inches in circumference and
-has more than eighty thousand stitches. It was purchased
-for $1950, and added to the Carnegie Library Collection
-in Pittsburgh (this was the highest price ever paid for
-a single Indian basket).</p>
-<p>Philbrook&rsquo;s <i>Datsolalee</i> basket has received international
-recognition. It may be seen, in color, in <i>Indian Art
-in America</i>, by Frederick J. Dockstader (New York
-Graphic Society, 1960) and in the magazine <i>America</i>
-(No. 67) which was distributed by the U. S. Information
-Agency and printed in Russian.
-<span class="lr">(See <a class="htm" href="#fig17a">Plate 17a</a>)</span></p>
-<h2 id="c13"><span class="small">UTILITARIAN&mdash;HISTORICAL</span>
-<br />c. 1835
-<br /><i>Pennacook</i>&mdash;Northern Massachusetts</h2>
-<p>Case No. 4:</p>
-<p>This basket is made of ash splints and is white on the
-interior. The exterior is decorated with designs painted in
-native dyes using a swabbing stick which has been pounded
-at one end to form a brush.</p>
-<p>This earliest known type of painted-on decoration
-ceased about 1870. An approximate dating for this specimen
-can be established from an April 2, 1835, copy of
-the <i>Boston Daily Courier</i>, which lines the basket lid.
-<span class="lr">(See <a class="htm" href="#fig2d">Plate 2d</a>)</span></p>
-<h2 id="c14"><span class="small">UTILITARIAN&mdash;HISTORICAL</span>
-<br /><i>Wampanoag</i>&mdash;Massachusetts</h2>
-<p>Case No. 4:</p>
-<p>This very plain basket, constructed of brown ash splints,
-was authenticated by the late Frank G. Speck, internationally
-known University of Pennsylvania anthropologist,
-as being <i>Wampanoag</i>.</p>
-<p>The <i>Wampanoags</i>, now extinct, were a branch of
-the Massachusetts <i>Algonquins</i>.</p>
-<p>This specimen was made by a direct descendant of
-King <i>Massasoit</i>, the Indian chief who met the Puritans
-at their Plymouth Rock landing in 1621. Massasoit was
-the father of King Phillip, for whom the King Phillip&rsquo;s
-Indian Wars of 1676, were named.
-<span class="lr">(See <a class="htm" href="#fig2c">Plate 2c</a>)</span></p>
-<div class="pb" id="Page_8">8</div>
-<h2 id="c15"><span class="small">CEREMONIAL WINE BASKET</span>
-<br />c. 1837
-<br /><i>Papago</i>&mdash;Arizona</h2>
-<p>Case No. 4:</p>
-<p>Annually, in July when the fruit of the Saguaro Cactus
-is ripe, the <i>Papagos</i> hold their <i>Nahwehteete</i> (wine drinking)
-ceremony. The purpose of this ceremony is to offer
-a prayer of supplication to bring rain. Wine, made from
-the Saguaro (called <i>Tizwin</i>) is passed around in this
-basket and served from a gourd dipper.</p>
-<p>Between dances the basket is used for storing the
-sacred ceremonial paraphernalia used in the dance. The
-&ldquo;Keeper of the Sacred Basket&rdquo; seldom ever parts with
-the basket. Therefore, not many can be found in public
-or private collections.
-<span class="lr">(See <a class="htm" href="#fig17b">Plate 17b</a>)</span></p>
-<h2 id="c16"><span class="small">MORTUARY</span>
-<br /><i>Pomo</i>&mdash;Northern California</h2>
-<p>Case No. 3:</p>
-<p>The <i>Pomo</i> Indians are the only tribe known to have
-completely and fully decorated baskets with feathers.
-These baskets were considered to be the tribe&rsquo;s highest artistic
-achievement. It was a great honor to the memory of a
-deceased person when this type of basket, especially made
-for such an occasion, was placed on his body at the cremation
-ceremony. It may be said that the sacrifice of
-these baskets was the tribe&rsquo;s most profound means of
-showing respect at the time of cremation.</p>
-<p>The custom of making and using these baskets no
-longer prevails. Few people today know the art, and
-even fewer people are willing to devote the nearly two
-years to make one feathered basket.</p>
-<p>At the time this ceremony was active in the <i>Pomo</i>
-culture, each family had several such baskets in reserve.
-It must therefore be assumed that the women of the
-tribe devoted a great deal of their time producing these
-symbols to honor the dead.</p>
-<p>It is interesting to compare cultures: The <i>Pomo</i> Indian
-sacrificed a work of art which took about two years
-to make&mdash;today&rsquo;s Anglo society calls the florist and orders
-a &ldquo;ten dollar spray&rdquo; of flowers. This basket on the collector&rsquo;s
-market is valued at about $300.
-<span class="lr">(See <a class="htm" href="#fig18c">Plate 18c</a> &amp; <a class="htm" href="#fig18d">18d</a>)</span></p>
-<div class="pb" id="Page_9">9</div>
-<h2 id="c17"><span class="small">JUMPING DANCE</span>
-<br /><i>Hoopa</i>&mdash;California</h2>
-<p>Case No. 4:</p>
-<p>The &ldquo;Jumping Dance Basket&rdquo; receives its name from
-a ceremony in which the participants perform with jumping
-dance motions. This ceremony is a prayer of supplication
-for the return of the soil&rsquo;s fertility. It is held in the
-spring of the year on land that has ceased to bear crops.</p>
-<p>Some people question these customs, and actually call
-them mere &ldquo;Indian superstitions.&rdquo; It is revealing to note,
-however, that less than a century ago Anglos believed
-that the childhood disease, rickets, could be cured by
-splitting an ash tree at dawn, and passing the stricken
-child head-first through the opening in the tree.</p>
-<p>This set of three baskets, handed down from generation
-to generation, was secured from a medicine man. The
-baskets were made prior to 1860 and no one living today
-seems to know how to weave them. As a result, the baskets
-are quite rare, and it is doubtful if another such set could
-be obtained.
-<span class="lr">(See <a class="htm" href="#fig18a">Plate 18a</a>)</span></p>
-<h2 id="c18"><span class="small">MOURNING BOWL</span>
-<br />c. 1870
-<br /><i>Menominee</i>&mdash;Wisconsin</h2>
-<p>Case No. 4:</p>
-<p>This rare, small birch bark pail is called a &ldquo;Mourning
-Bowl.&rdquo; It is used during the <i>Feast of the Dead</i>, a sacred
-ceremony which is held one year after burial to honor
-the deceased. During the Ceremony of the Mourning
-Bowl, food is placed in the bowl and passed to the mourners.
-After the ceremony, the basket containing food is
-giving a final blessing and is placed on the grave of the
-deceased.
-<span class="lr">(See <a class="htm" href="#fig17d">Plate 17d</a>)</span></p>
-<div class="pb" id="Page_10">10</div>
-<h2 id="c19"><span class="small">INITIATION CEREMONY</span>
-<br /><i>Hopi</i>&mdash;Arizona</h2>
-<p>Case No. 4:</p>
-<p>The <i>Soyal</i> (Prayer Offering Ceremony) of the religious
-organization, <i>Kwan Kwan Tu</i> (One Horn Fraternity),
-is part of a boy&rsquo;s initiation ceremony at puberty.
-The ceremony is held mainly in the <i>Kiva</i> (underground
-ceremonial chamber), from December through April. Here
-the novice meets his godfather for the first time.</p>
-<p>The design of the large plaque (at top of plate) represents
-a sand painting which is executed on the floor
-before the <i>Kiva</i> altar. The novice wears only a breechcloth
-as his godfather instructs him to kneel on the painting
-and rubs him with sacred corn meal, which has been
-blessed by the <i>Cacique</i> or religious leader. The significance
-of this ritual is that the novice&rsquo;s sins and evil thoughts are
-washed away. The corn meal is then taken outside and
-cast to the winds, thus purifying the boy. (Center of <a class="htm" href="#fig20">plate 20</a>:
-basket bowl with corn meal.)</p>
-<p>The wicker basket (at bottom of <a class="htm" href="#fig20">plate 20</a>) is used in
-carrying bean sprouts and young corn during the &ldquo;February
-Twelve Day&rdquo; <i>Kiva</i> ceremony. The sprouts and corn,
-signifying new life for the initiated, are eaten by him as
-he takes the numerous vows of faith.</p>
-<p>The two small trays (on either side of the top-center
-tray) represent the badges, which are given to the newly
-initiated boy.
-<span class="lr">(See <a class="htm" href="#fig20">Plate 20</a>)</span></p>
-<h2 id="c20"><span class="small">WEDDING BASKET</span>
-<br /><i>Navajo</i>&mdash;Arizona</h2>
-<p>Case No. 4:</p>
-<p>The origin of the <i>Navajo</i> basket with the &ldquo;Spider
-Woman&rsquo;s Cross&rdquo; design dates back hundreds of years. It
-is no longer made. As a substitute for their own basket
-during marriage ceremonies, the <i>Navajo</i> people often
-use a <i>Paiute</i> basket of the type shown in the upper right
-of the case.
-<span class="lr">(See <a class="htm" href="#fig19b">Plate 19b</a>)</span></p>
-<p>The Paiute basket is illustrated on <a class="htm" href="#fig19c">Plate 19c</a>.</p>
-<div class="pb" id="Page_11">11</div>
-<h2 id="c21"><span class="small">WEDDING PLAQUE</span>
-<br /><i>Hopi</i>&mdash;Arizona</h2>
-<p>Case No. 4:</p>
-<p>This plaque is made of yucca. The green color is unbleached
-yucca, the white is bleached yucca and the black
-color is yucca which has been dyed by using black sunflower
-seeds.</p>
-<p>The plaque is called <i>Kochaiinpi</i> (White Meal Plaque),
-and is woven by a prospective bride for use in the wedding
-procession. It is hung in the newly married couple&rsquo;s
-home afterwards, partly to commemorate the occasion.</p>
-<p>After the wedding the single-file procession proceeds
-to the new home which has recently been built by
-the groom. This procession is led by the bride&rsquo;s mother
-who carries on her head a large pottery bowl filled with
-baked beans. The bride follows next. With both hands
-she carries a large basket tray stacked with the <i>piki</i> bread
-(a thin wafer of bread&mdash;almost like parchment) which
-she has made from blue corn meal mixed with sweetened
-siovi ashes and cooked on a hot stone. Next in line are
-four male relatives of the bridegroom, each holding a corner
-of a blanket on which rests the &ldquo;White Meal Plaque.&rdquo;
-The plaque filled and running over with the white meal
-which the bride had ground earlier. Thus, the young
-couple start their life together with an ample quantity
-of food.</p>
-<p>The spiritual connotation of the basket is this: It is
-believed that at the time of death an individual&rsquo;s soul
-stands on the brink of the <i>Maski</i> (or after world; in this
-case literally the Grand Canyon). The soul steps onto the
-&ldquo;White Meal Plaque,&rdquo; gently soars over the abyss, and
-safely descends to the bottom. Thus the soul departs to
-the abiding place of the dead and forever rests in peace.
-<span class="lr">(See <a class="htm" href="#fig19a">Plate 19a</a>)</span></p>
-<div class="pb" id="Page_12">12</div>
-<h2 id="c22"><span class="small">WEDDING</span>
-<br />c. 1937
-<br /><i>Pomo</i>&mdash;California</h2>
-<p>Case No. 4:</p>
-<p>This coiled basket is covered with the feathers of
-about two hundred quail. The feathers which protrude
-from the basket, are from the head of the Valley Quail,
-or Gambel&rsquo;s Quail. The dark blue feathers are taken from
-different quails. The decorative disk-like beads are fashioned
-in the following manner: the shells are broken into
-small pieces and then drilled with a pump drill. They
-are then strung on a cord and the strand is then rubbed
-on a wet sandstone until the beads are round and uniform
-in size.</p>
-<p>This type of basket was made by the bride&rsquo;s mother and
-is considered to be the finest example of basketry produced
-by <i>Pomo</i> Indians. The <i>Chimopika</i> (Dowry Basket)
-is presented to the bridegroom, by the weaver, at the
-wedding ceremony. Sweetmeats, such as cakes of sugar from
-sugar sap trees, are placed in the basket and passed around
-to the guests.</p>
-<p>The married couple retains this sacred memento of
-the marriage ceremony as long as they both live, but if
-either of the couple dies the basket is sacrificed in the
-cremation ceremony.</p>
-<p>This basket was used in ceremonies prior to about
-1889. They are no longer made or used. This basket was
-obtained in 1937 from an Indian Agent who at that date
-stated he had seen only six baskets of this type on the
-reservation since 1907.
-<span class="lr">(See <a class="htm" href="#fig18b">Plate 18b</a>)</span></p>
-<h2 id="c23"><span class="small">CEREMONIAL&mdash;CARRYING</span>
-<br />1905
-<br /><i>White Mountain Apache</i>&mdash;White River, Arizona</h2>
-<p>Case No. 4:</p>
-<p>This splendid specimen is woven mainly of lemon
-bush. The white area is yucca plant and the black area
-is &ldquo;Devil&rsquo;s Claw,&rdquo; or Martyna.</p>
-<p>This basket was made by a <i>White Mountain Apache</i>
-for use in the &ldquo;Coming Out Dance.&rdquo;</p>
-<div class="pb" id="Page_13">13</div>
-<p>When an Indian Girl reaches the marriageable age, a
-&ldquo;Coming Out Dance&rdquo; is given in her honor. The girl&rsquo;s
-relatives and friends are invited to attend this important
-traditional ceremony. Drummers provide music as the
-girl and her sponsor (usually her aunt) dance on a rug
-or on the skin of an animal such as the bear or buffalo.
-These ceremonial baskets are placed for the guests to
-view&mdash;the more guests, the more baskets required.
-Each basket is filled with a mixture of sweetmeats, fruits
-and other foods and is placed on a slope in order to make
-the contents plainly visible to the guests.</p>
-<p>After the ceremony the baskets are passed among the
-guests for the contents to be enjoyed. They are then
-hung inside the house by the two handles, until the next
-&ldquo;Coming Out Dance.&rdquo;
-<span class="lr">(See <a class="htm" href="#fig17c">Plate 17c</a>)</span></p>
-<h2 id="c24"><span class="small">STORAGE</span>
-<br />c. 1900
-<br /><i>Pima</i>&mdash;Arizona</h2>
-<p>Case No. 10:</p>
-<p>This basket was used for storing mesquite beans after
-they had been hulled. It is doubtful if this type of basket
-has been made since 1900.
-<span class="lr">(See <a class="htm" href="#fig8a">Plate 8a</a>)</span></p>
-<p>For storage baskets of other tribes see:</p>
-<dl class="undent"><dt><a class="htm" href="#fig6a">Plate 6a</a>: <i>Cherokee</i></dt>
-<dt><a class="htm" href="#fig6d">Plate 6d</a>: <i>Ottawa</i></dt>
-<dt><a class="htm" href="#fig7a">Plate 7a</a>: <i>Cherokee</i></dt></dl>
-<h2 id="c25"><span class="small">SEED CONTAINER</span>
-<br />c. 300 A.D.
-<br /><i>Pueblo II</i>&mdash;Colorado</h2>
-<p>Case No. 4:</p>
-<p>Evidence of the importance of basketry among the
-southwestern peoples of the United States in the first
-few centuries of our era lies in the fact that these peoples
-and their culture are referred to as the &ldquo;Basket
-Makers.&rdquo;</p>
-<p>This basket dates back to approximately 300 A.D.,
-about 1600 years ago. It was used as a seed container to
-store squash and pumpkin seeds until the next planting
-season. It was found in the cliff dwellings of the San
-Juan River basin near Mesa Verde, Colorado.
-<span class="lr">(See <a class="htm" href="#fig7b">Plate 7b</a>)</span></p>
-<div class="pb" id="Page_14">14</div>
-<h2 id="c26"><span class="small">STORAGE</span>
-<br />c. 1875
-<br /><i>Tonto Apache and
-<br />White Mountain Apache</i>&mdash;Southeast Arizona</h2>
-<p>Case No. 7:</p>
-<p>This unusually large specimen is almost three feet tall.
-Since about 1914, very few, if any, as large as this have
-been made. An Indian woman would have to devote three
-to four months to the weaving of a basket of this size.
-Today she can purchase a gunny sack from the nearest
-trading post for twenty five cents and store the same
-amount of grain with much less effort.</p>
-<p>This basket, valued at $750.00 on the collector&rsquo;s market
-today, is a splendid illustration of a dying art. The
-forthcoming Indian generation will not be concerned with
-the making of baskets for daily use. The beautiful weaving
-techniques and colorful designs will become a thing of
-the past.</p>
-<p>Also, in this show case, is a fine 1890 basket specimen;
-a <i>Tonto Apache</i> storage basket from the Verde River area
-below Flagstaff, Arizona.
-<span class="lr">(See <a class="htm" href="#fig6c">Plate 6c</a> &amp; <a class="htm" href="#fig17c">17c</a>)</span></p>
-<h2 id="c27"><span class="small">HOUSEHOLD</span>
-<br /><i>Chitimacha</i>&mdash;Louisiana</h2>
-<p>Case No. 10:</p>
-<p>The unusual decorative design of this basket is commonly
-referred to as &ldquo;alligator intestines.&rdquo; This design
-motif has been used as far back as history records, and
-serves as an excellent example of the weaver&rsquo;s skill.
-<span class="lr">(See <a class="htm" href="#fig15c">Plate 15c</a>)</span></p>
-<p>For other examples of household baskets see:</p>
-<dl class="undent"><dt><a class="htm" href="#fig15b">Plate 15b</a>: <i>Cherokee</i>, household farm basket</dt>
-<dt><a class="htm" href="#fig15d">Plate 15d</a>: <i>Hoopa</i>, tobacco basket</dt>
-<dt><a class="htm" href="#fig16a">Plate 16a</a>: <i>Yokut</i>, general household basket</dt>
-<dt><a class="htm" href="#fig16b">Plate 16b</a>: <i>Rappahannock</i>, household farm basket</dt>
-<dt><a class="htm" href="#fig16d">Plate 16d</a>: <i>Cherokee</i>, household farm basket</dt></dl>
-<div class="pb" id="Page_15">15</div>
-<h2 id="c28"><span class="small">FOOD BOWL</span>
-<br /><i>Hopi&mdash;Shongopovi</i>, 2nd Mesa&mdash;Arizona</h2>
-<p>Case No. 11:</p>
-<p>This food bowl is one of the finest specimens of decorative
-symbolism ever produced in <i>Hopi</i> basketry.</p>
-<p>The decorations represent the knobhead (or Mudhead)
-Clown <i>Kachina</i> called <i>Koyemsi</i>, and the Crow Wing
-Mother (the mother of all <i>Kachinas</i>). The four ears of
-corn, each in a different color, represent the four seasons
-of the year.</p>
-<p>Made by <i>Lula Joshongeva</i>, it received several awards
-at the 1956 Inter-Tribal Indian Ceremonials, in Gallup,
-New Mexico. Further honor was bestowed the basket by
-a Navajo medicine man&rsquo;s special blessing at a &ldquo;Blessing
-Ceremony.&rdquo;
-<span class="lr">(See <a class="htm" href="#fig8b">Plate 8b</a>)</span></p>
-<h2 id="c29"><span class="small">BERRY GATHERING</span>
-<br /><i>Choctaw</i>&mdash;Mississippi</h2>
-<p>Case No. 4:</p>
-<p>The basket with a tall handle was made in 1817, fourteen
-years after the Louisiana Purchase. <i>The basket with
-a shorter handle is a contemporary specimen.</i></p>
-<p>The 1817 specimen is of considerable historical significance
-since it was brought to Oklahoma sometime between
-1838 and 1842, at the time the Federal Government
-removed the Choctaw tribe from Mississippi to
-Indian Territory (Oklahoma).
-<span class="lr">(See <a class="htm" href="#fig5b">Plate 5b</a>)</span></p>
-<h2 id="c30"><span class="small">WATER BOTTLE</span>
-<br /><i>Chiricahua</i> and <i>Havasupai</i>&mdash;New Mexico and Arizona</h2>
-<p>Above door of entrance to Basket Gallery:</p>
-<p>These woven specimens are covered with gum from
-the Pinon Pine and subsequently baked over an open fire
-until they become as hard as shellac. This coating makes
-the bottles watertight.</p>
-<p>Several Arizona tribes prefer this type of water bottle
-to any they can procure from the Anglo; they are, therefore,
-still used extensively in this area.
-<span class="lr">(See Plates <a class="htm" href="#fig2a">2a</a> &amp; <a class="htm" href="#fig2b">2b</a>)</span></p>
-<div class="pb" id="Page_16">16</div>
-<h2 id="c31"><span class="small">CARRYING (or Burden)</span></h2>
-<p>Cases No. 1, 7, 8, 11 and Overhead&mdash;<i>Various Tribes</i>.</p>
-<p>This type of basket was used by the <i>Paiutes</i> of Nevada
-and the <i>Gabrielenos</i> and <i>Maidus</i> of California for
-carrying acorns; by the <i>Quileutes</i> of Washington for carrying
-salmon; by the <i>Hopis</i> of Arizona for carrying peaches
-and corn, and by the <i>Zunis</i> of New Mexico for carrying
-peaches.
-<span class="lr">(See Plates <a class="htm" href="#fig14c">14c</a> &amp; <a class="htm" href="#fig14d">14d</a>)</span></p>
-<p class="revint">Case No. 1. Examples of burden baskets used by the
-<i>Cherokees</i> of the Smokey Mountains of
-North Carolina.</p>
-<p class="revint">Case No. 7 and 8: Examples of baskets used by the
-<i>Karocs</i> of California, showing the &ldquo;Tump-line&rdquo;
-basket with head band attached.
-<span class="lr">(See <a class="htm" href="#fig13c">Plate 13c</a>)</span></p>
-<p class="revint">Case No. 11: Shows a harvest basket of the <i>Cahuilla</i> of
-California, used in carrying grains.
-<span class="lr">(See <a class="htm" href="#fig9a">Plate 9a</a>)</span></p>
-<h2 id="c32"><span class="small">CARRYING</span>
-<br /><i>Cahuilla</i> or <i>Mission</i>&mdash;California</h2>
-<p>Case No. 13:</p>
-<p>This basket was used to carry grasshoppers to the
-brush and grass <i>Wickiup</i> where they were roasted on
-a long stick over a flame in preparation for eating.</p>
-<p>There is nothing too unusual about mankind eating insects:
-The <i>Holy Bible</i> tells of the children of Israel&mdash;forty
-years in the wilderness&mdash;in the land of Canaan, eating
-locusts, as did John The Baptist while preaching in the
-wilderness. Today specialty stores retail grasshoppers,
-fried worms, bees and ants&mdash;many of which are chocolate
-coated!
-<span class="lr">(See <a class="htm" href="#fig14a">Plate 14a</a>)</span></p>
-<h2 id="c33"><span class="small">GRASSHOPPER STEWING</span>
-<br /><i>Paiute</i>&mdash;Nevada</h2>
-<p>Case No. 13:</p>
-<p>This basket was made for cooking grasshoppers. After
-the grasshoppers were placed in the basket the top was
-tied with a buckskin thong and submerged in boiling water.
-The basket was removed from the water when the grasshoppers
-were sufficiently cooked and ready to be eaten.
-<span class="lr">(See <a class="htm" href="#fig10c">Plate 10c</a>)</span></p>
-<div class="pb" id="Page_17">17</div>
-<h2 id="c34"><span class="small">WATER TIGHT</span>
-<br />c. 1875
-<br /><i>Thlinkit</i>&mdash;Alaska</h2>
-<p>Case No. 5:</p>
-<p>This water-tight boiling basket is made of spruce
-roots which have been finely split by hand. It is woven
-as tightly as commercially woven canvas water bags. These
-baskets are no longer made for cooking because metal
-containers are readily available.</p>
-<p>The design motif of this unusually fine specimen is
-constructed of mountain grass, commonly called Squaw
-Grass. The grass is soaked in bog mud all winter, giving
-it the black color. The copper color is obtained by boiling
-the grass with copper ore, and the white is the same grass,
-sun bleached.
-<span class="lr">(See <a class="htm" href="#fig9c">Plate 9c</a>)</span></p>
-<h2 id="c35"><span class="small">CARRYING BASKET</span>
-<br />c. 1890
-<br /><i>Papago</i>&mdash;Arizona</h2>
-<p>Case No. 4:</p>
-<p>This carrying, or burden, basket, referred to by <i>Papagos</i>
-as <i>Kiaha</i>, is made of stems from the Cereus Giganteus
-Cactus and the twine from leaves of the Maguey plant.
-The Maguey plant played a major role in <i>Papago</i> life due
-to the fact that food, rope, twine, varnish, needles, and
-liquor were obtained from it.</p>
-<p>The <i>Papagos</i> taught the Spaniards to make liquors
-from the juice of the Maguey plant more than four hundred
-years ago. The liquor is still made today in Mexico.</p>
-<p>In 1540, the Spaniards, led by Coronado, arrived in
-the Southwest and found this basket being used in daily
-life. Such items as Mesquite beans, cactus, wood, water
-jars and corn were carried in this basket, which is equipped
-with a head band and rests on the shoulders. After the
-Spaniards introduced horses and horses became plentiful,
-the men ceased to have need for (or to make) this basket.</p>
-<p>It is interesting to note that the weaving technique of
-this (one of the few baskets made by men) may be called
-the American counterpart of <i>Belgian Point Lace</i>.
-<span class="lr">(See <a class="htm" href="#fig13d">Plate 13d</a>)</span></p>
-<div class="pb" id="Page_18">18</div>
-<h2 id="c36"><span class="small">ROASTING TRAYS</span>
-<br />c. 1890
-<br /><i>Yurok</i>&mdash;California
-<br /><i>Modoc</i>&mdash;Oregon</h2>
-<p>Case No. 12:</p>
-<p>These three trays are used for roasting shelled nuts
-such as hazel nuts and pinon nuts. The nuts are placed on
-the tray along with red-hot wood coals. A revolving
-motion is applied to the tray and the coals are rolled so
-deftly that they do not burn the tray.
-<span class="lr">(See <a class="htm" href="#fig9d">Plate 9d</a>)</span></p>
-<h2 id="c37"><span class="small">CORN HUSK (or &ldquo;Sally&rdquo;) BAGS</span>
-<br />c. 1850
-<br /><i>Umatilla</i>&mdash;Oregon</h2>
-<p>Case No. 10:</p>
-<p>This specimen was made of a hemp foundation and
-false embroidery of twisted corn husks. Vegetable dyes
-were used.</p>
-<p>The name &ldquo;Sally Bag&rdquo; goes back to an older use of
-the term sally, meaning &ldquo;to go forth,&rdquo; &ldquo;to sally forth,&rdquo;
-i.e. to travel.</p>
-<p>The bags were used as travel bags and were tied to the
-back of the cantle of the saddle. They were known to
-have been in use at the time of the Lewis and Clark
-Expedition of 1805.
-<span class="lr">(See <a class="htm" href="#fig15a">Plate 15a</a>)</span></p>
-<h2 id="c38"><span class="small">EFFIGY&mdash;TRINKETS</span>
-<br /><i>Alibamu</i> of Texas, formerly of Alabama
-<br /><i>Papago</i> of Arizona</h2>
-<p>Case Nos. 2 and 13:</p>
-<p>These baskets are unique works of art. Each shows
-considerable creativity. The <i>Alibamu</i> turkey basket made
-of pine cones and the <i>Papago</i> owl made of Yucca plant
-are used as trinket baskets. In more recent years, additional
-types have been made in the form of birds, frogs,
-turtles, alligators, armadillos, etc. These baskets have
-proven quite popular and have therefore become an asset
-to the economy of the craftsman.
-<span class="lr">(See Plates <a class="htm" href="#fig5c">5c</a> &amp; <a class="htm" href="#fig5d">5d</a>)</span></p>
-<div class="pb" id="Page_19">19</div>
-<h2 id="c39"><span class="small">IMBRICATED WEAVE</span>
-<br /><i>Yakima</i>&mdash;Toppenish, Washington</h2>
-<p>Case No. 11:</p>
-<p>The Latin word <i>Imbrex</i> means tile; imbricated means
-overlapping like tiles or a decoration resembling tiles.
-This basket is an excellent example of the imbricated
-weave.</p>
-<p>This basket was formerly used for cooking and is now
-used in berry picking. There are four different materials
-used in the construction: the foundation is coiled, split
-cedar roots; the white color is bleached mountain grass;
-the dark red is cherry tree bark; the brown is cedar bark.
-<span class="lr">(See <a class="htm" href="#fig5a">Plate 5a</a>)</span></p>
-<h2 id="c40"><span class="small">BIRCHBARK</span>
-<br />Various Tribes</h2>
-<p>Case No. 8:</p>
-<p>Many items are made from birch-bark by the Indians
-in areas where the birch tree grows in abundance. Like
-many other cultures, the Indian used objects for daily
-use which required the least effort to make. Birch-bark
-lends itself readily to easy construction.</p>
-<p>Shown here are many forms of birch-bark construction:
-boxes, buckets, creels, trays, etc.</p>
-<dl class="undent"><dt><a class="htm" href="#fig3d">Plate 3d</a>: <i>Algonquin</i> fishing creel</dt>
-<dt><a class="htm" href="#fig7c">Plate 7c</a>: <i>Algonquin</i> canoe box</dt>
-<dt><a class="htm" href="#fig7d">Plate 7d</a>: <i>Chippewa</i> storage box</dt>
-<dt><a class="htm" href="#fig8c">Plate 8c</a>: <i>Chippewa</i> wild rice gathering tray</dt></dl>
-<h2 id="c41"><span class="small">SQUASH BLOSSOM</span>
-<br /><i>Pima</i>&mdash;Arizona</h2>
-<p>Case No. 7:</p>
-<p>The decorative motif of these baskets is actually
-thought of by the <i>Pima</i> weaver as a &ldquo;progressive design,&rdquo;
-rather than that of a squash blossom. The design is executed
-in sequences of three to twelve petals, one of
-a sequence to each basket. Only two complete sets (ten
-baskets to a set) are known to exist. They are no longer
-made.</p>
-<p>These baskets were used for such things as winnowing
-grain and gathering fruit and vegetables.
-<span class="lr">(See <a class="htm" href="#fig9b">Plate 9b</a>)</span></p>
-<div class="pb" id="Page_20">20</div>
-<h2 id="c42"><span class="small">PORCUPINE QUILL DECORATION</span>
-<br />c. 1903
-<br /><i>Chippewa</i>&mdash;Minnesota</h2>
-<p>Case No. 2:</p>
-<p>One of the finest examples of the Indian woman&rsquo;s
-native creative arts is found in porcupine quill decoration.
-The artist formerly prepared her own dyes from berries,
-roots, barks, etc. Today, aniline dyes are used almost exclusively.
-Steps used in the preparation of quills for bark
-decoration are as follows:</p>
-<blockquote>
-<p>The artist usually divides the quills into four
-lengths and stores them in separate containers because
-they differ in length and thickness (one to four
-inches long and 1/16 to 3/32 inches thick). The
-quills are washed well in soap root before being dyed,
-and stored. When she is ready to use the quills she
-softens them in her mouth. The warmth and moisture
-are most effective and it is thought that the saliva
-contains some special property that makes them more
-pliable. She generally keeps a number of the quills
-of the same size and color in one cheek with the
-points protruding from her lips, pulling out a quill
-as it is needed. Small holes are punched in the bark
-with an awl and the quill is inserted in these holes.
-The ends are bent over on the back side of the bark
-to hold them in place. By using quills of the desired
-length to fit the decoration, it is not necessary to cut
-them. The quill swells and stiffens as it dries, making
-it even more secure.</p>
-</blockquote>
-<p>In most boxes, so decorated, a plain undecorated piece
-of bark is fitted on the inside (or back side) to hide the
-raw ends of the quills. Three to four thousand quills are
-required to cover a box the size of the one shown in
-<a class="htm" href="#fig1a">Plate 1a</a>. Vegetable dyes were used on the quills of this
-box and have not faded in more than fifty years.
-<span class="lr">(See <a class="htm" href="#fig1a">Plate 1a</a>)</span></p>
-<h2 id="c43"><span class="small">MINIATURES</span></h2>
-<p>Case No. 2:</p>
-<p>Indian women make these to show their skill in weaving.
-In similar fashion, the Anglo has engraved the <i>Lord&rsquo;s
-Prayer</i> on the head of a straight pin in order to illustrate
-his skill.</p>
-<p>The principal, and interesting difference is: the Anglo
-uses a magnifying glass and the Indian women do not.</p>
-<div class="pb" id="Page_21">21</div>
-<h2 id="c44"><span class="small">MOOSE HAIR EMBROIDERY</span>
-<br />c. 1875
-<br /><i>Huron</i>&mdash;Province of Quebec, Canada</h2>
-<p>Case No. 3:</p>
-<p>This basket and the basket from Maine are rare examples
-of the old Indian art of moose hair embroidery.
-A cluster of very fine hair grows from the withers of the
-wild moose and this hair, dyed in suitable colors, is used
-for the embroidery.</p>
-<p>The art of this type embroidery probably dates back
-to about 1714, at which time the natives used this method
-of decoration for their own buckskin clothing. It is believed
-that these people were taught the art at convents
-after the steel needle was introduced into this country
-from Europe in the eighteenth century. However, there
-is no proof of this theory.</p>
-<p>It is interesting to note other unique examples of
-decorative art by these people; i.e., the drilling of seed
-pearls the size of the head of a straight pin and in turn,
-sewing these pearls on cloth or fiber. With crude tools,
-they created rare and beautiful works of decorative art
-which would be difficult for us to duplicate with today&rsquo;s
-precision tooling.</p>
-<p>After adopting Anglo-style clothing these Indians practiced
-moose hair embroidery art on trinkets such as these
-until it became almost extinct by 1890. Specimens such
-as these are rare even in museums.
-<span class="lr">(See <a class="htm" href="#fig8d">Plate 8d</a>)</span></p>
-<h2 id="c45"><span class="small"><i>Passamaquoddy&mdash;Malecite</i></span>
-<br />Maine</h2>
-<p>This is a birch bark box covered with red cloth and
-decorated with moose hair embroidery.
-<span class="lr">(See <a class="htm" href="#fig8d">Plate 8d</a>)</span></p>
-<h2 id="c46"><span class="small">WHALEBONE (Baleen)</span>
-<br /><i>Eskimo</i>&mdash;Point Barrow, Alaska</h2>
-<p>Case No. 3:</p>
-<p>The Baleen used in the weaving of this basket is found
-in the upper jaw of the Bowhead, or Alaskan Right Whale.
-This horny substance is pulled into various sized strips.
-While it is still fresh it is flexible and can be woven as
-easily as fiber. The same weaving technique used in making
-coiled baskets from grass roots is also used in the
-construction of this basket.</p>
-<div class="pb" id="Page_22">22</div>
-<p>An Alaskan trader is credited with having taught the
-<i>Eskimos</i> to use Baleen as a weaving medium. The art was
-almost extinct until a few years ago when the U. S. Indian
-Arts and Crafts Board gave needed encouragement to the
-craftsmen.</p>
-<p>The Bowhead, or Right Whale, is not plentiful at
-Point Barrow; only two or three such whales are caught
-during a good year. Some years none are caught.</p>
-<p>Two factors are predominate in making this type of
-basketry scarce: 1) lack of Baleen, 2) the fifty hours
-necessary for a skillful craftsman to construct the specimen.</p>
-<p>The decorative ivory figure on the lid of the basket
-is made of walrus tusk.
-<span class="lr">(See <a class="htm" href="#fig1b">Plate 1b</a>)</span></p>
-<h2 id="c47"><span class="small">ALEUT ISLAND BASKETRY</span>
-<br />c. 1860 and c. 1939-1944
-<br /><i>Attu</i>&mdash;Attu Island, Alaska</h2>
-<p>Case No. 6:</p>
-<p>The baskets shown in display case no. 6, are the
-finest weave known to have been made in North America.</p>
-<p>Woven in about thirty days, the average size basket
-may have up to 10,000 stitches to the square inch. The
-finest machine made cotton sheeting has 3600 stitches
-to the square inch.</p>
-<p>The dark toned baskets were made about 1860 and the
-lighter toned ones were made between 1939 and 1944.</p>
-<p>These specimens are made by the <i>Aleut</i> Indian women
-of a beach grass (Wild Rye) which grows on Attu Island.
-The stems and blades are about the size of wheat straw,
-and the <i>Aleut</i> women split them with their finger nails.</p>
-<p>In 1741, Russian explorers discovered and settled the
-Aleutian Islands. They later found that the native women
-were wrapping their dead with finely woven, narrow
-strips of grass fiber and placing the bodies in caves.</p>
-<p>Russians then encouraged the <i>Aleuts</i> to weave baskets
-of this same product. In the normal course of events,
-the Russians influenced the use of silk and cotton thread
-decorations on the baskets.</p>
-<div class="pb" id="Page_23">23</div>
-<p>In 1948, Edward L. Keithan, curator of The State
-Museum of Alaska, made a field trip to the Aleutian
-Islands and found only three women still practicing this
-fine art of basketry. Today, there is no continuance of
-this art.
-<span class="lr">(See Plates <a class="htm" href="#fig1c">1c</a> &amp; <a class="htm" href="#fig1d">1d</a>)</span></p>
-<h2 id="c48"><span class="small">GAMBLING DEVICES</span></h2>
-<p>Case No. 2:</p>
-<p>Illustrated here are several types of gambling devices
-used by North American Indians:</p>
-<p class="revint"><i>Pomos</i> of California, used a mat on which they threw
-their counters.
-<span class="lr">(See <a class="htm" href="#fig4b">Plate 4b</a>)</span></p>
-<p class="revint"><i>Seneca-Cayuga</i> of New York, used a wooden bowl and
-six flat, polished peach seeds for their famous &ldquo;Peach
-Seed Game.&rdquo; This bowl was brought to Oklahoma
-about 1840.
-<span class="lr">(See <a class="htm" href="#fig4c">Plate 4c</a>)</span></p>
-<p class="revint"><i>Cheyennes</i> of Oklahoma, used a basket bowl with wooden
-counters.</p>
-<p class="revint"><i>Pawnees</i> of Nebraska, used a basket tray. This is the only
-type of basketry known to have been made by them.
-This basket was made before they were removed to
-Oklahoma.
-<span class="lr">(See <a class="htm" href="#fig4d">Plate 4d</a>)</span></p>
-<p class="revint"><i>Klamaths</i> of Oregon, used a different gambling device in
-that it was more of a guessing game. The mat covered
-the hands of the operator. The two bones are held,
-one in each hand, and rotated. The bet was made
-on the turn of the selected bone. These counters were
-usually made from the foreleg of a deer or elk.</p>
-<p>The Mongolian culture is well known to have a strong
-interest in gambling games. Some anthropologists tell us
-that the North American Indians came to this country
-many years ago across the Bering Sea from Asia and that
-they are descendants of the Mongolians in that area.</p>
-<div class="pb" id="Page_24">24</div>
-<h2 id="c49"><span class="small">MANIOC PRESS</span>
-<br /><i>Carib</i>&mdash;Guatemala and Venezuela</h2>
-<p>Case No. 13:</p>
-<p>Indians of Mexico, Central America, northern South
-America and the Caribbean Islands used this press to
-remove poison (Hydrocyanic Acid) from the Manioc
-root. This root is similar to the root used in the preparation
-of tapioca. The Indians process the root to make
-a flour which is used in a native bread. This type of
-press was in use by these people as early as 892 A.D. and
-in some areas is still being used today.</p>
-<p>To remove the poison from Manioc the root is pounded,
-then stuffed into the basket, causing it to expand in
-girth and to shorten in length. (The particular type of
-diagonal twill weave used in this basket press permits
-a girth expansion to twice its former size and a reduction
-in length of about one-half its original size.) The
-press is then submerged in water and soaked until thoroughly
-saturated. When it is removed from the water
-the press is hung by the loop end, usually on a branch.
-The foot or a weight is put on the closed end of the
-press and this creates a squeezing action which removes
-the poison from the root inside. At this point the press
-changes shape and becomes long and narrow again. This
-process is repeated several times to assure the removal
-of the poison.
-<span class="lr">(See <a class="htm" href="#fig11a">Plate 11a</a>)</span></p>
-<h2 id="c50"><span class="small">BABY CRADLES</span></h2>
-<p>Case No. 5:</p>
-<p>The art of making basket cradles is almost lost today.
-However, the wooden cradle is still made and used extensively
-by many tribes; this is especially so in the
-Pueblo tribes.</p>
-<p>The following illustrates the use of baby cradles by
-some basket making tribes: Hoopas, of California, used
-a sit-down type cradle&mdash;the baby is seated in, and tied
-to, the cradle; <i>Hopis</i>, of Arizona and <i>Frazier River</i>, of
-Washington, used the cradle for putting the baby to
-sleep holding the cradle in their arms; tribes such as
-<i>Mono-Paiute</i> and <i>Pomo</i>, of California, and <i>Ute</i> of Colorado,
-used the cradle by placing it on the mother&rsquo;s back.</p>
-<div class="pb" id="Page_25">25</div>
-<p>There are more than six hundred Indian dialects. The
-<i>Ute</i> word for cradle is <i>Ahcacon</i>. When asked, what the
-Indian word for &ldquo;cradle,&rdquo; or &ldquo;baby board&rdquo; is, it is impossible
-to answer. Because of the many dialects it is
-easily understandable that there are numerous words for
-this object, just as the word would be different in Spanish,
-Swedish, German or Russian.
-<span class="lr">(See Plates <a class="htm" href="#fig3a">3a</a>, <a class="htm" href="#fig3b">3b</a> &amp; <a class="htm" href="#fig3c">3c</a>)</span></p>
-<h2 id="c51"><span class="small">BLOW GUN AND QUIVER</span>
-<br /><i>Cherokee</i>&mdash;North Carolina.</h2>
-<p>Case No. 1:</p>
-<p>Made of wild cane and six feet long, this type blow
-gun was used for shooting poison darts. Some guns are
-as long as twenty feet. A blow gun is extraordinary in that
-it has for example, the power to shoot a dart a quarter of
-an inch into a pine door. This power is probably due to
-the choke bore design of the gun.</p>
-<p>The darts are fifteen to eighteen inches long and are
-made of locust wood. They are sharpened and hardened
-over a flame at one end and, at the opposite end are
-wrapped at an angle with the silk from a thistle plant.
-As the air is blown into the gun the thistle silk fluffs and
-creates a shoulder to blow against. The dart is retarded in
-its movement by the taper of the bore. It is not known
-what implement was employed to produce this tapered
-bore.</p>
-<p>Many years ago this type blow gun, with poison darts,
-was used in warfare by the <i>Cherokee</i>, <i>Choctaw</i>, <i>Catawaba</i>,
-and <i>Houma</i> tribes. Displayed with the blow gun and darts
-is the basket quiver which held the darts. These specimens
-were brought to Oklahoma before 1860, by the grandfather
-of Jim Backwater.
-<span class="lr">(See <a class="htm" href="#fig21">Plate 21</a>)</span></p>
-<div class="pb" id="Page_ii">ii</div>
-<hr class="dwide" />
-<blockquote>
-<p>The Clark Field Collection of Indian Baskets is composed
-of one thousand and ninety six specimens, as of date
-(1964), from throughout North America and represents
-almost every basket making tribe of that area. Due to the
-wide scope of tribal representation and the beauty of these
-outstanding specimens, this collection is rated by the
-U. S. Indian Arts and Crafts Board as the most outstanding
-Indian basket collection in North America.</p>
-</blockquote>
-<div class="pb" id="Page_iii">iii</div>
-<h3 id="c52"><span class="sc">Plate No. 1</span></h3>
-<div class="img" id="fig1a">
-<img src="images/p01.jpg" alt="" width="540" height="554" />
-<p class="pcap">1a
-<br />HOUSEHOLD
-<br /><i>Chippewa</i>
-<br />Minnesota
-<br />Size: 3&frac34;&Prime; &times; 8&frac14;&Prime;</p>
-</div>
-<div class="img" id="fig1b">
-<img src="images/p01b.jpg" alt="" width="531" height="490" />
-<p class="pcap">1b
-<br />TRINKET
-<br /><i>Eskimo</i>
-<br />Alaska
-<br />Size: 3&frac12;&Prime; &times; 3&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig1c">
-<img src="images/p01c.jpg" alt="" width="331" height="573" />
-<p class="pcap">1c
-<br />DECORATIVE
-<br /><i>Attu</i>
-<br />Aleutian Islands, Alaska
-<br />Size: 5&Prime; &times; 6&Prime;</p>
-</div>
-<div class="img" id="fig1d">
-<img src="images/p01d.jpg" alt="" width="371" height="476" />
-<p class="pcap">1d
-<br />DECORATIVE
-<br /><i>Attu</i>
-<br />Aleutian Islands, Alaska
-<br />Size: 3&frac14;&Prime; &times; 3&frac34;&Prime;</p>
-</div>
-<div class="pb" id="Page_iv">iv</div>
-<h3 id="c53"><span class="sc">Plate No. 2</span></h3>
-<div class="img" id="fig2a">
-<img src="images/p01e.jpg" alt="" width="374" height="487" />
-<p class="pcap">2a
-<br />WATER JUG
-<br /><i>Chiricahua Apache</i>
-<br />New Mexico
-<br />Size: 13&frac12;&Prime; &times; 9&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig2b">
-<img src="images/p01f.jpg" alt="" width="393" height="410" />
-<p class="pcap">2b
-<br />WATER JUG
-<br /><i>Havasupai</i>
-<br />Arizona
-<br />Size: 12&Prime; &times; 10&Prime;</p>
-</div>
-<div class="img" id="fig2c">
-<img src="images/p01g.jpg" alt="" width="356" height="469" />
-<p class="pcap">2c
-<br />HISTORICAL&mdash;UTILITARIAN
-<br /><i>Wampanoag</i>
-<br />Massachusetts
-<br />Size: 6&frac34;&Prime; &times; 9&Prime;</p>
-</div>
-<div class="img" id="fig2d">
-<img src="images/p01h.jpg" alt="" width="333" height="491" />
-<p class="pcap">2d
-<br />HISTORICAL&mdash;UTILITARIAN
-<br /><i>Pennacook</i>
-<br />Massachusetts
-<br />Size: 14&frac12;&Prime; &times; 20&Prime;</p>
-</div>
-<div class="pb" id="Page_v">v</div>
-<h3 id="c54"><span class="sc">Plate No. 3</span></h3>
-<div class="img" id="fig3a">
-<img src="images/p02.jpg" alt="" width="430" height="608" />
-<p class="pcap">3a
-<br />CRADLE
-<br /><i>Pomo</i>
-<br />California
-<br />Size: 16&Prime; &times; 12&Prime; &times; 7&Prime;</p>
-</div>
-<div class="img" id="fig3b">
-<img src="images/p02b.jpg" alt="" width="212" height="456" />
-<p class="pcap">3b
-<br />CRADLE
-<br /><i>Hoopa</i>
-<br />California
-<br />Size: 16&frac34;&Prime; &times; 9&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig3c">
-<img src="images/p02c.jpg" alt="" width="186" height="458" />
-<p class="pcap">3c
-<br />CRADLE
-<br /><i>Ute</i>
-<br />Colorado
-<br />Size: 34&Prime; &times; 12&Prime;</p>
-</div>
-<div class="img" id="fig3d">
-<img src="images/p02d.jpg" alt="" width="488" height="495" />
-<p class="pcap">3d
-<br />FISHING CREEL
-<br /><i>Algonquin</i>
-<br />Quebec, Canada
-<br />Size: 10&frac12;&Prime; &times; 10&frac12;&Prime; &times; 8&frac12;&Prime;</p>
-</div>
-<div class="pb" id="Page_vi">vi</div>
-<h3 id="c55">PLATE No. 4</h3>
-<div class="img" id="fig4a">
-<img src="images/p02e.jpg" alt="" width="797" height="392" />
-<p class="pcap">4a
-<br />FISH TRAP
-<br /><i>Catawba</i>
-<br />North Carolina
-<br />Size: 64&Prime; &times; 16&Prime;</p>
-</div>
-<div class="img" id="fig4b">
-<img src="images/p02f.jpg" alt="" width="511" height="541" />
-<p class="pcap">4b
-<br />GAMBLING MAT
-<br /><i>Pomo</i>
-<br />California
-<br />Size: 28&Prime; diameter</p>
-</div>
-<div class="img" id="fig4c">
-<img src="images/p02g.jpg" alt="" width="531" height="583" />
-<p class="pcap">4c
-<br />GAMBLING TRAY
-<br /><i>Seneca&mdash;Cayuga</i>
-<br />New York and Oklahoma
-<br />Size: 12&Prime; &times; 3&frac14;&Prime;</p>
-</div>
-<div class="img" id="fig4d">
-<img src="images/p02h.jpg" alt="" width="519" height="541" />
-<p class="pcap">4d
-<br />GAMBLING TRAY
-<br /><i>Pawnee</i>
-<br />Nebraska and Oklahoma
-<br />Size: 9&Prime; &times; 2&Prime;</p>
-</div>
-<div class="pb" id="Page_vii">vii</div>
-<h3 id="c56"><span class="sc">Plate No. 5</span></h3>
-<div class="img" id="fig5a">
-<img src="images/p03.jpg" alt="" width="361" height="442" />
-<p class="pcap">5a
-<br />BERRY GATHERING
-<br /><i>Yakima</i>
-<br />Washington
-<br />Size: 20&Prime; &times; 14&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig5b">
-<img src="images/p03b.jpg" alt="" width="348" height="577" />
-<p class="pcap">5b
-<br />BERRY GATHERING
-<br /><i>Choctaw</i>
-<br />Mississippi
-<br />Size: 10&Prime; &times; 10&Prime;</p>
-</div>
-<div class="img" id="fig5c">
-<img src="images/p03c.jpg" alt="" width="356" height="449" />
-<p class="pcap">5c
-<br />EFFIGY&mdash;TRINKET
-<br /><i>Papago</i>
-<br />Arizona
-<br />Size: 8&frac12;&Prime; &times; 7&Prime;</p>
-</div>
-<div class="img" id="fig5d">
-<img src="images/p03d.jpg" alt="" width="562" height="581" />
-<p class="pcap">5d
-<br />EFFIGY&mdash;TRINKET
-<br /><i>Alibamu</i>
-<br />Alabama and Texas
-<br />Size: 6&Prime; &times; 7&Prime;</p>
-</div>
-<div class="pb" id="Page_viii">viii</div>
-<h3 id="c57"><span class="sc">Plate No. 6</span></h3>
-<div class="img" id="fig6a">
-<img src="images/p03e.jpg" alt="" width="546" height="538" />
-<p class="pcap">6a
-<br />STORAGE
-<br /><i>Cherokee</i>
-<br />North Carolina
-<br />Size: 18&frac12;&Prime; &times; 18&Prime;</p>
-</div>
-<div class="img" id="fig6b">
-<img src="images/p03f.jpg" alt="" width="761" height="375" />
-<p class="pcap">6b
-<br />STORAGE
-<br /><i>Shoshone&mdash;(Panamint)</i>
-<br />Death Valley, California
-<br />Size: 24&Prime; &times; 9&Prime;</p>
-</div>
-<div class="img" id="fig6c">
-<img src="images/p03g.jpg" alt="" width="307" height="456" />
-<p class="pcap">6c
-<br />STORAGE
-<br /><i>Tonto Apache</i>
-<br />Arizona
-<br />Size: 29&frac12;&Prime; &times; 19&Prime;</p>
-</div>
-<div class="img" id="fig6d">
-<img src="images/p03h.jpg" alt="" width="698" height="461" />
-<p class="pcap">6d
-<br />STORAGE
-<br /><i>Ottawa</i>
-<br />Michigan
-<br />Size: 10&frac12;&Prime; &times; 14&Prime; &times; 10&Prime;</p>
-</div>
-<div class="pb" id="Page_ix">ix</div>
-<h3 id="c58"><span class="sc">Plate No. 7</span></h3>
-<div class="img" id="fig7a">
-<img src="images/p04.jpg" alt="" width="480" height="486" />
-<p class="pcap">7a
-<br />STORAGE
-<br /><i>Cherokee</i>
-<br />North Carolina
-<br />Size: 13&frac34;&Prime; &times; 12&Prime; &times; 12&Prime;</p>
-</div>
-<div class="img" id="fig7b">
-<img src="images/p04b.jpg" alt="" width="489" height="481" />
-<p class="pcap">7b
-<br />STORAGE
-<br /><i>Basket Maker II</i>
-<br />New Mexico
-<br />Size: 5&#8541;&Prime; &times; 4&Prime;</p>
-</div>
-<div class="img" id="fig7c">
-<img src="images/p04c.jpg" alt="" width="504" height="542" />
-<p class="pcap">7c
-<br />STORAGE
-<br /><i>Algonquin</i>
-<br />Quebec, Canada
-<br />Size: 12&frac12;&Prime; &times; 18&frac12;&Prime; &times; 15&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig7d">
-<img src="images/p04d.jpg" alt="" width="691" height="527" />
-<p class="pcap">7d
-<br />STORAGE
-<br /><i>Chippewa</i>
-<br />Wisconsin
-<br />Size: 17&Prime; &times; 9&Prime; &times; 12&Prime;</p>
-</div>
-<div class="pb" id="Page_x">x</div>
-<h3 id="c59"><span class="sc">Plate No. 8</span></h3>
-<div class="img" id="fig8a">
-<img src="images/p04e.jpg" alt="" width="456" height="540" />
-<p class="pcap">8a
-<br />STORAGE
-<br /><i>Pima</i>
-<br />Arizona
-<br />Size: 21&frac12;&Prime; &times; 18&Prime;</p>
-</div>
-<div class="img" id="fig8b">
-<img src="images/p04f.jpg" alt="" width="560" height="430" />
-<p class="pcap">8b
-<br />STORAGE
-<br /><i>Hopi</i>
-<br />Arizona
-<br />Size: 13&Prime; &times; 17&Prime;</p>
-</div>
-<div class="img" id="fig8c">
-<img src="images/p04g.jpg" alt="" width="712" height="278" />
-<p class="pcap">8c
-<br />GATHERING
-<br /><i>Chippewa</i>
-<br />Wisconsin
-<br />Size: 30&Prime; &times; 20&Prime; &times; 7&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig8d">
-<img src="images/p04h.jpg" alt="" width="426" height="403" />
-<p class="pcap">8d
-<br />HOUSEHOLD TRINKET
-<br /><i>Passamaquoddy&mdash;Malecite</i>
-<br />Maine
-<br />Size: 3&Prime; &times; 5&Prime;</p>
-</div>
-<div class="img" id="fig8e">
-<img src="images/p04m.jpg" alt="" width="262" height="349" />
-<p class="pcap">CARD CASE
-<br /><i>Huron</i>
-<br />Quebec, Canada
-<br />Size: 4&Prime; &times; 2&frac34;&Prime;</p>
-</div>
-<div class="pb" id="Page_xi">xi</div>
-<h3 id="c60">Plate No. 9</h3>
-<div class="img" id="fig9a">
-<img src="images/p05.jpg" alt="" width="473" height="461" />
-<p class="pcap">9a
-<br />HARVEST
-<br /><i>Cahuilla (Mission)</i>
-<br />California
-<br />Size: 8&frac12;&Prime; &times; 22&Prime;</p>
-</div>
-<div class="img" id="fig9b">
-<img src="images/p05b.jpg" alt="" width="508" height="533" />
-<p class="pcap">9b
-<br />WINNOWING TRAY
-<br /><i>Pima</i>
-<br />Arizona
-<br />Size: 3&Prime; &times; 19&Prime;</p>
-</div>
-<div class="img" id="fig9c">
-<img src="images/p05c.jpg" alt="" width="463" height="461" />
-<p class="pcap">9c
-<br />COOKING
-<br /><i>Thlinkit</i>
-<br />Alaska
-<br />Size: 11&frac12;&Prime; &times; 14&Prime;</p>
-</div>
-<div class="img" id="fig9d">
-<img src="images/p05d.jpg" alt="" width="473" height="492" />
-<p class="pcap">9d
-<br />ROASTING
-<br />Yurok (2)
-<br />California
-<br />Size: 2&frac12;&Prime; &times; 10&frac12;&Prime; and 3&Prime; &times; 21&frac12;&Prime;
-<br /><i>Modoc (1)</i>
-<br />Oregon
-<br />Size: 3&frac12;&Prime; &times; 14&frac12;&Prime;</p>
-</div>
-<div class="pb" id="Page_xii">xii</div>
-<h3 id="c61"><span class="sc">Plate No. 10</span></h3>
-<div class="img" id="fig10a">
-<img src="images/p05e.jpg" alt="" width="800" height="452" />
-<p class="pcap">10a
-<br />COLANDER
-<br /><i>Penobscot</i>
-<br />Maine
-<br />Size: 5&frac12;&Prime; &times; 11&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig10b">
-<img src="images/p05f.jpg" alt="" width="397" height="722" />
-<p class="pcap">10b
-<br />PORRIDGE BOWL
-<br /><i>Paiute</i>
-<br />California
-<br />Size: 8&Prime; &times; 12&Prime;</p>
-</div>
-<div class="img" id="fig10c">
-<img src="images/p05g.jpg" alt="" width="334" height="465" />
-<p class="pcap">10c
-<br />STEWING GRASSHOPPERS
-<br /><i>Paiute</i>
-<br />California
-<br />Size: 12&Prime; &times; 9&Prime;</p>
-</div>
-<div class="img" id="fig10d">
-<img src="images/p05h.jpg" alt="" width="800" height="547" />
-<p class="pcap">10d
-<br />GRINDING TRAY
-<br /><i>Hoopa</i>
-<br />California
-<br />Size: 4&frac12;&Prime; &times; 16&frac12;&Prime;</p>
-</div>
-<div class="pb" id="Page_xiii">xiii</div>
-<h3 id="c62"><span class="sc">Plate No. 11</span></h3>
-<div class="img" id="fig11a">
-<img src="images/p06.jpg" alt="" width="800" height="238" />
-<p class="pcap">11a
-<br />MANIOC PRESS
-<br /><i>Carib</i>
-<br />Guatemala and Venezuela
-<br />72&Prime; &times; 2&frac12;&Prime; not expanded
-<br />40&Prime; &times; 4&Prime; expanded (filled)</p>
-</div>
-<div class="img" id="fig11b">
-<img src="images/p06b.jpg" alt="" width="499" height="467" />
-<p class="pcap">11b
-<br />FOOD BOWL
-<br /><i>Mission</i>
-<br />California
-<br />Size: 5&frac12;&Prime; &times; 15&Prime;</p>
-</div>
-<div class="img" id="fig11c">
-<img src="images/p06d.jpg" alt="" width="465" height="469" />
-<p class="pcap">11c
-<br />FOOD BOWL
-<br /><i>Shoshone (Panamint)</i>
-<br />California
-<br />Size: 3&#8540;&Prime; &times; 7&frac12;&Prime;</p>
-</div>
-<div class="pb" id="Page_xiv">xiv</div>
-<h3 id="c63"><span class="sc">Plate No. 12</span></h3>
-<div class="img" id="fig12a">
-<img src="images/p06e.jpg" alt="" width="481" height="468" />
-<p class="pcap">12a
-<br />FOOD PLATTER
-<br /><i>Cahuilla (Mission)</i>
-<br />California
-<br />Size: 4&frac12;&Prime; &times; 20&Prime;</p>
-</div>
-<div class="img" id="fig12b">
-<img src="images/p06f.jpg" alt="" width="703" height="397" />
-<p class="pcap">12b
-<br />FOOD BOWL
-<br /><i>Shoshone (Panamint)</i>
-<br />California
-<br />Size: 4&Prime; &times; 8&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig12c">
-<img src="images/p06g.jpg" alt="" width="464" height="448" />
-<p class="pcap">12c
-<br />FOOD PLATTER
-<br /><i>Chemehueve</i>
-<br />Arizona
-<br />Size: 3&Prime; &times; 15&Prime;</p>
-</div>
-<div class="img" id="fig12d">
-<img src="images/p06h.jpg" alt="" width="391" height="374" />
-<p class="pcap">12d
-<br />FOOD PLATTER
-<br /><i>Yavapai Apache</i>
-<br />Arizona
-<br />Size: 4&Prime; &times; 12&frac12;&Prime;</p>
-</div>
-<div class="pb" id="Page_xv">xv</div>
-<h3 id="c64"><span class="sc">Plate No. 13</span></h3>
-<div class="img" id="fig13a">
-<img src="images/p07.jpg" alt="" width="516" height="508" />
-<p class="pcap">13a
-<br />FOOD PLATTER
-<br /><i>Western Apache</i>
-<br />Arizona
-<br />Size: 4&frac34;&Prime; &times; 21&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig13b">
-<img src="images/p07b.jpg" alt="" width="544" height="503" />
-<p class="pcap">13b
-<br />FOOD PLATTER
-<br /><i>Papago</i>
-<br />Arizona
-<br />Size: 2&frac34;&Prime; &times; 11&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig13c">
-<img src="images/p07c.jpg" alt="" width="563" height="474" />
-<p class="pcap">13c
-<br />CARRYING (Tump-Line)
-<br /><i>Karoc</i>
-<br />California
-<br />Size: 9&frac34;&Prime; &times; 13&Prime;</p>
-</div>
-<div class="img" id="fig13d">
-<img src="images/p07d.jpg" alt="" width="457" height="502" />
-<p class="pcap">13d
-<br />CARRYING
-<br /><i>Papago</i>
-<br />Arizona
-<br />Size: 12&Prime; &times; 25&frac12;&Prime; &times; 20&frac12;&Prime;</p>
-</div>
-<div class="pb" id="Page_xvi">xvi</div>
-<h3 id="c65"><span class="sc">Plate No. 14</span></h3>
-<div class="img" id="fig14a">
-<img src="images/p07e.jpg" alt="" width="489" height="512" />
-<p class="pcap">14a
-<br />CARRYING (Grasshopper)
-<br /><i>Cahuilla (Mission)</i>
-<br />California
-<br />Size: 14&Prime; &times; 9&Prime;</p>
-</div>
-<div class="img" id="fig14b">
-<img src="images/p07f.jpg" alt="" width="760" height="495" />
-<p class="pcap">14b
-<br />GATHERING (Clams)
-<br /><i>Quinault</i>
-<br />Washington
-<br />Size: 12&frac34;&Prime; &times; 16&Prime; &times; 10&Prime;</p>
-</div>
-<div class="img" id="fig14c">
-<img src="images/p07g.jpg" alt="" width="489" height="473" />
-<p class="pcap">14c
-<br />CARRYING
-<br /><i>Maidu</i>
-<br />California
-<br />Size: 29&frac12;&Prime; &times; 19&Prime;</p>
-</div>
-<div class="img" id="fig14d">
-<img src="images/p07h.jpg" alt="" width="548" height="446" />
-<p class="pcap">14d
-<br />CARRYING
-<br /><i>Gabrielenos (Mission)</i>
-<br />California
-<br />Size: 19&Prime; &times; 25&Prime;</p>
-</div>
-<div class="pb" id="Page_xvii">xvii</div>
-<h3 id="c66"><span class="sc">Plate No. 15</span></h3>
-<div class="img" id="fig15a">
-<img src="images/p08.jpg" alt="" width="402" height="510" />
-<p class="pcap">15a
-<br />CARRYING (Sally Bag)
-<br /><i>Umatilla</i>
-<br />Oregon
-<br />Size: 17&frac12;&Prime; &times; 13&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig15b">
-<img src="images/p08b.jpg" alt="" width="447" height="450" />
-<p class="pcap">15b
-<br />HOUSEHOLD (Farm)
-<br /><i>Cherokee</i>
-<br />Oklahoma
-<br />Size: 6&Prime; &times; 9&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig15c">
-<img src="images/p08c.jpg" alt="" width="560" height="512" />
-<p class="pcap">15c
-<br />HOUSEHOLD
-<br /><i>Chitimacha</i>
-<br />Louisiana
-<br />Size: 6&frac12;&Prime; &times; 9&Prime; &times; 6&Prime;</p>
-</div>
-<div class="img" id="fig15d">
-<img src="images/p08d.jpg" alt="" width="462" height="509" />
-<p class="pcap">15d
-<br />HOUSEHOLD (Tobacco)
-<br /><i>Hoopa</i>
-<br />California
-<br />Size: 4&frac12;&Prime; &times; 4&#8540;&Prime;</p>
-</div>
-<div class="pb" id="Page_xviii">xviii</div>
-<h3 id="c67"><span class="sc">Plate No. 16</span></h3>
-<div class="img" id="fig16a">
-<img src="images/p08e.jpg" alt="" width="648" height="469" />
-<p class="pcap">16a
-<br />HOUSEHOLD
-<br /><i>Yokut</i>
-<br />California
-<br />Size: 6&Prime; &times; 12&Prime;</p>
-</div>
-<div class="img" id="fig16b">
-<img src="images/p08f.jpg" alt="" width="631" height="524" />
-<p class="pcap">16b
-<br />HOUSEHOLD (Farm)
-<br /><i>Rappahannock</i>
-<br />Virginia
-<br />Size: 9&frac12;&Prime; &times; 20&Prime; &times; 17&Prime;</p>
-</div>
-<div class="img" id="fig16c">
-<img src="images/p08g.jpg" alt="" width="410" height="545" />
-<p class="pcap">16c
-<br />HOUSEHOLD (Wall Pocket)
-<br /><i>Choctaw</i>
-<br />Oklahoma
-<br />Size: 14&Prime; &times; 12&Prime;</p>
-</div>
-<div class="img" id="fig16d">
-<img src="images/p08h.jpg" alt="" width="417" height="541" />
-<p class="pcap">16d
-<br />HOUSEHOLD
-<br /><i>Cherokee</i>
-<br />Oklahoma
-<br />Size: 9&frac12;&Prime; &times; 12&Prime;</p>
-</div>
-<div class="pb" id="Page_xix">xix</div>
-<h3 id="c68"><span class="sc">Plate No. 17</span></h3>
-<div class="img" id="fig17a">
-<img src="images/p09.jpg" alt="" width="604" height="478" />
-<p class="pcap">17a
-<br />CEREMONIAL
-<br /><i>Washoe</i>
-<br />Nevada
-<br />Circumference 52&Prime;
-13&Prime; hi, 8&Prime; orifice</p>
-</div>
-<div class="img" id="fig17b">
-<img src="images/p09b.jpg" alt="" width="490" height="445" />
-<p class="pcap">17b
-<br />CEREMONIAL (Wine)
-<br /><i>Papago</i>
-<br />Arizona
-<br />Size: 7&frac14;&Prime; &times; 15&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig17c">
-<img src="images/p09c.jpg" alt="" width="800" height="432" />
-<p class="pcap">17c
-<br />CEREMONIAL (Carrying)
-<br /><i>White Mountain Apache</i>
-<br />Arizona
-<br />Size: 13&frac34;&Prime; &times; 14&Prime; &times; 15&Prime;</p>
-</div>
-<div class="img" id="fig17d">
-<img src="images/p09d.jpg" alt="" width="481" height="478" />
-<p class="pcap">17d
-<br />MOURNING BOWL
-<br /><i>Menominee</i>
-<br />Wisconsin
-<br />Size: 7&Prime; &times; 8&Prime;</p>
-</div>
-<div class="pb" id="Page_xx">xx</div>
-<h3 id="c69"><span class="sc">Plate No. 18</span></h3>
-<div class="img" id="fig18a">
-<img src="images/p09e.jpg" alt="" width="526" height="594" />
-<p class="pcap">18a
-<br />CEREMONIAL (Jumping Dance)
-<br /><i>Hoopa</i>
-<br />California
-<br />Top: 15&Prime; &times; 3&frac12;&Prime;
-<br />Middle: 18&Prime; &times; 4&frac12;&Prime;
-<br />Bottom: 20&Prime; &times; 5&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig18b">
-<img src="images/p09f.jpg" alt="" width="800" height="440" />
-<p class="pcap">18b
-<br />CEREMONIAL (Wedding)
-<br /><i>Pomo</i>
-<br />California
-<br />Size: 5&#8541;&Prime; &times; 12&Prime;</p>
-</div>
-<div class="img" id="fig18c">
-<img src="images/p09g.jpg" alt="" width="800" height="362" />
-<p class="pcap">18c
-<br />MORTUARY
-<br /><i>Pomo</i>
-<br />California
-<br />Size: 5&Prime; &times; 14&Prime;</p>
-</div>
-<div class="img" id="fig18d">
-<img src="images/p09h.jpg" alt="" width="750" height="509" />
-<p class="pcap">18d
-<br />MORTUARY
-<br /><i>Pomo</i>
-<br />California
-<br />Size: 5&Prime; &times; 9&frac12;&Prime;</p>
-</div>
-<div class="pb" id="Page_xxi">xxi</div>
-<h3 id="c70"><span class="sc">Plate No. 19</span></h3>
-<div class="img" id="fig19a">
-<img src="images/p10.jpg" alt="" width="462" height="474" />
-<p class="pcap">19a
-<br />CEREMONIAL (Wedding)
-<br /><i>Hopi</i>
-<br />Arizona
-<br />Size: 2&frac12;&Prime; &times; 15&Prime;</p>
-</div>
-<div class="img" id="fig19b">
-<img src="images/p10a.jpg" alt="" width="413" height="404" />
-<p class="pcap">19b
-<br />CEREMONIAL (Wedding)
-<br /><i>Navajo</i>
-<br />Arizona
-<br />Size: 4&Prime; &times; 13&Prime;</p>
-</div>
-<div class="img" id="fig19c">
-<img src="images/p10c.jpg" alt="" width="480" height="436" />
-<p class="pcap">19c
-<br />CEREMONIAL (Medicine Tray)
-<br /><i>Paiute</i>
-<br />Arizona
-<br />Size: 3&Prime; &times; 14&frac12;&Prime;</p>
-</div>
-<div class="img" id="fig19d">
-<img src="images/p10d.jpg" alt="" width="694" height="464" />
-<p class="pcap">19d
-<br />RINSING (Clothes)
-<br /><i>Niantic</i>
-<br />Connecticut
-<br />Size: 6&Prime; &times; 11&Prime; &times; 11&Prime;</p>
-</div>
-<div class="pb" id="Page_xxii">xxii</div>
-<h3 id="c71"><span id="fig20" class="sc">Plate No. 20</span></h3>
-<div class="img" id="fig1">
-<img src="images/p10h.jpg" alt="" width="600" height="1137" />
-<p class="pcap">SOYAL INITIATION CEREMONY
-<br />(Prayer Offering Ceremony)
-<br /><i>Hopi</i>
-<br />Arizona</p>
-</div>
-<div class="pb" id="Page_xxiii">xxiii</div>
-<h3 id="c72"><span id="fig21" class="sc">Plate No. 21</span></h3>
-<div class="img" id="fig2">
-<img src="images/p11.jpg" alt="" width="770" height="1000" />
-<p class="pcap">BLOW GUN, QUIVER and DART
-<br /><i>Cherokee</i>
-<br />North Carolina</p>
-</div>
-<div class="pb" id="Page_xxiv">xxiv</div>
-<h2 id="c73"><span class="small">ROOT RUNNER BASKETRY</span></h2>
-<p class="center"><i>Reprint from Philbrook Brochure, 1952
-<br />by Clark Field</i></p>
-<div class="pb" id="Page_26">26</div>
-<h2 id="c74"><span class="small">INTRODUCTION</span></h2>
-<p>The purpose that a foreword serves to the reading public is ostensibly to
-express its writer&rsquo;s endorsement of the material presented and of the mode
-of treatment. In this instance the purpose is heartily avowed. The monograph
-in hand forms a contribution to the series of studies being pursued
-widely among scholars whose aim is to piece together portions of the picture
-of culture of the Indians of the Southeast. Our knowledge of the culture
-properties of native tribes in any area where their development has been
-going on for centuries in their original seats comes necessarily by gradual
-steps. These may seem disconnected in the minds of laymen who are in
-haste to see the whole story completed. Perhaps only the pioneer investigator
-knows how long and intimately a people must be studied by dwelling
-in their midst before their ways of life become clear enough to be understood
-and discussed. Collections of data, historical, descriptive and functional,
-have to be made and preserved in the form of notes and actual
-specimens. When these ends are accomplished, the picture of tribal life takes
-definite shape, and another gap in the history of a people is closed. These
-are the requirements for carrying on in a somewhat new undertaking in the
-line of history, namely ethno-history.</p>
-<p>Studies of a people&rsquo;s physical structure, their psychology, language, religion
-and government contribute their share. On the material side their crafts
-developed to supply economic needs and the art involved in the crafts themselves
-must be illustrated with accumulations of specimens. These requirements
-the author of the following study has had well in mind for a considerable
-space of time, and he has treated them with conservative judgment and
-a regard for their implications with botany and ecology. Such remarks applied
-to the paper constitute the ethnologist&rsquo;s endorsement.</p>
-<p>It is a splendid thing for man of the present to take time to stabilize his mind
-to contemplating the achievements of tribes inhabiting our continent as a
-prologue to the affairs of the present. Where is the brash critic to persist in
-the claim that the natives of America have no original elements of &ldquo;civilization&rdquo;
-either from the early or late past, or in the present? The Cherokee have
-provided an answer. Contemporary literature has amassed the evidence nor
-alone in the series of volumes from the University of Oklahoma Press, but in
-prose and poetry known throughout the nation. It offers a compendious
-chapter in the epic of America. Each additional study adds a paragraph of
-importance to the whole.</p>
-<p>The study to follow contributes a detail of existing knowledge of the art-crafts
-of the Cherokee. As such it will prove to be another source reference
-to the Cherokee way of life in art and its expression in concrete form. The
-utilities have been and still are to Indians a means of finding outlet for their
-aesthetic urges. Art and crafts are merged in the output. Other fields lie
-open for further attempts to perform its functions in national life by issuing
-successive publications dealing with its cultural material, thus laying foundations
-for that basic teaching we fondly call Americanism.</p>
-<p><span class="lr">FRANK G. SPECK</span>
-<span class="lr">Department of Anthropology,</span>
-<span class="lr">University of Pennsylvania</span>
-<span class="lr">Philadelphia, Pennsylvania</span>
-<span class="lr">1952</span></p>
-<div class="pb" id="Page_27">27</div>
-<h2 id="c75"><span class="small">ROOT RUNNER BASKETRY</span></h2>
-<p>The association of root-runner basket forms in America would show a number
-of instances of use of a &ldquo;Rod&rdquo; as a one rod foundation for coiled baskets
-occurring originally in Arizona, Colorado, New Mexico and on the plains.<a class="fn" id="fr_1" href="#fn_1">[1]</a>
-This technologically simple form of basket building material has implications
-bearing upon the age and area theory that challenges attention on a wider
-scale. Apart from the coiling process, a single rod construction appears in the
-Southeast in wicker work. What conclusions a broader study of single rod
-basketry (to which class the root runner series belongs) in any of its constructional
-forms, whether in coiling or wicker work, would lead to is quite
-beyond the purpose of this article.</p>
-<p>It is the intent of the writer to record a simple phase of basketry technique in
-the southern middle Atlantic slope and the northern part of the south and
-southeast area, as it applies to the Cherokee of the North Carolina highlands
-and of Oklahoma. In these areal habitats the two subdivisions of the tribe
-make use of three diverse plant types, the use of which in basketry construction
-in some districts does not overlap or coincide. In Carolina an earlier
-root-runner style has either passed out of memory or never existed among the
-Cherokee Indians, but came in later through acculturative changes. As far as
-has been ascertained, all fine root runner fibers used in the making of Indian
-baskets belong to two family groups, the botanical names of which are Caprifoliceae
-and Crataegus.</p>
-<p>To the first family group belong:</p>
-<dl class="undent"><dt>Japanese Honeysuckle (Lonicera Japonica)</dt>
-<dt>A vine introduced into America from Asia around 1906.<a class="fn" id="fr_2" href="#fn_2">[2]</a></dt>
-<dt>Buckbrush (Symphoricarpos Orbiculatus)</dt>
-<dt>Also called Indian Currant and Coral Berry.</dt></dl>
-<p>To the second family belong:</p>
-<dl class="undent"><dt>Wild Hawthorne (Crataegus Crus Galli)</dt>
-<dt>The Yuki Indians of California made a basket out of the stems of a native honeysuckle (Lonicera Interrupta). It, however does not have fine root runners.<a class="fn" id="fr_3" href="#fn_3">[3]</a></dt></dl>
-<div class="pb" id="Page_28">28</div>
-<h2 id="c76"><span class="small">ROOT RUNNER BASKETS IN VIRGINIA</span></h2>
-<div class="img">
-<img src="images/p12.jpg" alt="Root Runner Basket" width="554" height="349" />
-</div>
-<p>The Rappahannock Indians of Virginia
-make a basket of Japanese honeysuckle
-root runners of a wicker type
-weave which is crude in weaving
-technique in comparison with baskets
-from North Carolina. (Rappahannock
-of Virginia.) Quoting Dr. Speck, &ldquo;The
-art was revived by some of the women
-in 1922, when the Indian Association
-was formed. Susie and Lizzie Nelson,
-old Bob Nelson and other Rappahannock
-Indians made these baskets at
-that time. Chief Otto Nelson, his wife Susie, and Lizzie Nelson remember
-that when they were young about 1890, their grandmother Sallie Ronnie,
-who was then about 60 years old, had a honeysuckle sewing basket shaped
-like an oval bowl, similar in weave to the baskets mentioned above.</p>
-<p>&ldquo;There is a native local, variety of Red Honeysuckle (Lonicera sempervirens)
-in Virginia which is not a ground runner but clings for six feet or so to
-trees and fences; it is finer stemmed than the Japanese variety and Indian
-women of the Rappahannock tribe have agreed to weave with it. All honeysuckle
-runners are kept soaked in water to preserve their pliability for
-weaving. They can be gathered and woven at any time of the year if treated
-in this manner.&rdquo;</p>
-<p>As far as known no other fine root runner is used for basket weaving by the
-Indians of this state, although other fine root runners such as Devil&rsquo;s Shoestring
-and London Pride grow there. Comments on honeysuckle wicker-weave
-baskets among the Mattaponi Indians of Virginia are made by Dr.
-Frank Speck in his book &ldquo;At Mattaponi,&rdquo; in which he speaks of the girls
-making baskets of honeysuckle stems, meticulously neat and with a technique
-suspiciously European in detail. We cannot be too sure that something like
-this did not exist before as many references to baskets of various forms
-made in the early days are encountered.<a class="fn" id="fr_4" href="#fn_4">[4]</a> The Pamunkey Tribe, living on
-a reservation ten miles south of Mattaponi, have used honeysuckle runners
-for over twenty years. In both bands the details of form and weave are
-identical, and the historical circumstances may also be.</p>
-<div class="pb" id="Page_29">29</div>
-<h2 id="c77"><span class="small">ROOT RUNNER BASKETS IN NORTH CAROLINA</span></h2>
-<div class="img">
-<img src="images/p12a.jpg" alt="Root Runner Basket" width="470" height="240" />
-</div>
-<p>The Cherokee Indians of North Carolina
-used Japanese honeysuckle in basket
-weaving as early as 1880, when it
-was introduced by a Cherokee woman
-named Arizona Blankenship who had
-been educated at Hampton Institute,
-Virginia. It is interesting to note that
-the Cherokee Agency Indian School
-was founded at Cherokee, North Carolina,
-that same year.</p>
-<p>In January, 1943, Dr. Speck made an extensive trip into the hill country
-around Cherokee, North Carolina, visiting the old conservative Cherokee
-Indians of that region. He learned from the old people that honeysuckle
-basket weaving was not an original Cherokee Indian art. Making inquiry
-into their history of basket weaving, he could find no evidence of their use
-of hawthorne (Crataegus) although it is native to that state, or any historical
-evidence of the use of any other fine root runners. It is possible, of
-course, that the Hawthorne runners could have been used by other Indian
-bands in other parts of the state but so far it is not known, notwithstanding
-the fact Dr. Speck has spent many years of study of Cherokee Indian basketry
-in North Carolina.<a class="fn" id="fr_5" href="#fn_5">[5]</a> Cane and oak splints were used chiefly by the Cherokee
-in basket weaving and the use of Japanese honeysuckle was undoubtedly a
-later addition to their culture. An illustration of one of the earliest known
-types of honeysuckle weave is shown in the Cherokee of North Carolina
-plate. This basket has no foundation to support the fine root runner fibers
-although most of their baskets made of honeysuckle runners do have
-foundations of oak splints. As far as is known no double weaving of fine
-root runner baskets was done by the Cherokee of this state.</p>
-<div class="pb" id="Page_30">30</div>
-<h2 id="c78"><span class="small">ROOT RUNNER BASKETS IN OKLAHOMA</span></h2>
-<div class="img">
-<img src="images/p13.jpg" alt="Root Runner Basket" width="529" height="480" />
-</div>
-<p>The Cherokee of Oklahoma used buckbrush
-(Symphoricarpos Orbiculatus)
-in making fine root runner baskets and
-it appears after careful study and extensive
-inquiry, that this type of basket
-weaving may have originated
-among the Indians of Oklahoma. This
-conclusion is based on many years of
-collecting baskets from Cherokee Indians
-in every part of the old Cherokee
-nation. Interviews with older basket-making
-women were held through interpreters
-and it was clearly established
-that basket making from honeysuckle
-was not known to them or to their mothers or grandmothers who had lived
-in Georgia and North Carolina before their removal in 1938 to Oklahoma.
-The only type of weaving known to them before coming to Oklahoma was
-the cane and oak-splint weaving. From such interviews these facts could be
-traced back to as early as 1850. They were certain that the earliest baskets
-made by their grandparents were out of buckbrush and oak splints; no cane
-or honeysuckle was used in the northern part of the Cherokee nation.</p>
-<p>In the Spavinaw hills country of the northern part of the Cherokee nation
-the Indians used only buckbrush runners as cane does not grow in this section.
-In the southern part of the nation, in the vicinity of Gore and Weber
-Falls, cane grows and is used almost exclusively in basket weaving. In the
-locality of Tahlequah and Stillwell both cane and buckbrush weaving is done.
-The Cherokee of this region make both a double and single wicker weave
-basket of buckbrush runners and no foundation is used in either type although
-each is strong and serviceable. All of their fine root runner baskets
-(buckbrush) are a wicker type of weave of unexcelled technique. The
-double weave basket made by Lucy Mouse (shown in the Oklahoma example)
-is a splendid specimen of fine weaving&mdash;a strong durable basket.
-The dye used in this basket is walnut stain from boiled walnut hulls.</p>
-<p>The buckbrush runners are pulled in the fall of the years and after drying
-two or three weeks are boiled to remove the bark. The fibers remain flexible
-enough for weaving all winter which is the basket weaving season.</p>
-<p>The shapes were formerly market baskets, fruit trays, egg baskets and storage
-baskets, some of which were used by them as long as fifty years ago. Twenty-five
-years ago vegetable dyes were used for coloring but today commercial
-dyes are largely used; the baskets are made, as a rule, for sale, and show
-considerable white influence.</p>
-<p><span class="lr">&mdash;Clark Field</span></p>
-<div class="pb" id="Page_31">31</div>
-<h2 id="c79"><span class="small">AUTOBIOGRAPHY</span></h2>
-<p>I was born in Dallas, Texas, on January 6, 1882.</p>
-<p>I first became interested in the art work of the Indians
-while working as a reporter for an Oklahoma daily
-newspaper in 1900, at which time I covered the opening
-for settlement of the Kiowa, Comanche and Apache Indian
-reservations in southwest Oklahoma. After two years
-of study (1903-1904) at the University of Oklahoma,
-I became a traveling salesman and remained in that profession
-until 1917 when I went into business for myself
-(retired from business in 1957). About 1918 I became
-actively interested in Indian pottery and basketry
-and started my collections. Since that time, Mrs. Field,
-my daughter Dorothy Field Maxwell (Mrs. Gilbert S.),
-and I have traveled more than one hundred and twenty
-five thousand miles collecting in the United States, Canada,
-Alaska, Mexico, Central and South America.</p>
-<p>To date (1964) we have spent 46 years in trying to
-collect authentic specimens of baskets made for actual
-use by all basket-making tribes (no tourist specimens
-are included). Intent upon maintaining the highest possible
-quality throughout the collection, I have always
-insisted upon acquiring the finest representative basket
-for its particular tribe or use.</p>
-<p>The collection is completely catalogued and photographed
-and has been given to the Philbrook Art Center
-of Tulsa, Oklahoma, where it is on exhibition. The collection
-has been rated by members of the Indian Arts
-and Crafts Board, and by members of other museums, as
-the most comprehensive in the United States for its
-beauty of specimens and unusual method of display.</p>
-<p><span class="lr"><span class="sc">Clark Field</span></span></p>
-<h2 id="c80"><span class="small">FOOTNOTES</span></h2>
-<div class="fnblock"><div class="fndef"><a class="fn"  id="fn_1" href="#fr_1">[1]</a>The definitions and boundaries of typology and historical horizons given by Dr. Gene Weltfish are followed
-here. &ldquo;Prehistoric North American Basketry Techniques and Modern Distributions,&rdquo; American Anthropologist,
-Vol. 32, No. 3, 1930 and &ldquo;Preliminary Classification of Prehistoric Southwestern Basketry,&rdquo;
-Smithsonian Miscellaneous Collection, Vol. 87, No. 7, 1932, P. 40.
-</div><div class="fndef"><a class="fn"  id="fn_2" href="#fr_2">[2]</a>Dr. Alfred Rehder, Curator of Herbarium of Arnold Arboretum, Harvard University.
-</div><div class="fndef"><a class="fn"  id="fn_3" href="#fr_3">[3]</a>C. V. Morton, Assistant &ldquo;Curator of Plants&rdquo; Smithsonian Institution, letter to A. Wetmore, April 14, 1943. Also. &ldquo;Trees and Shrubs,&rdquo; Chas. Sargent, 1905, Vol. 1, 139 and &ldquo;Manual of Flowering Plants of California.&rdquo; Willis Linn Jepson. 1823.
-</div><div class="fndef"><a class="fn"  id="fn_4" href="#fr_4">[4]</a>Dr. F. G. Speck, &ldquo;Chapters in Ethnology of the Powhatan Tribes of Virginia,&rdquo; Indian Notes and monographs,
-Museum of the American Indian (Heye Foundation) New York, Vol. 1, No. 5, 1928, P. P. 385-388,
-F. G. 88.
-</div><div class="fndef"><a class="fn"  id="fn_5" href="#fr_5">[5]</a>Rather extensive discussion and illustration of honeysuckle root baskets by the white mountaineers of
-the South are given by A. H. Eaton &ldquo;Handicrafts of the Southern Highlands.&rdquo; Russel Sage Foundation,
-N. Y. 1937, pp. 174-5, 115-209. No dating is attempted.
-</div>
-</div>
-<div class="pb" id="Page_32">32</div>
-<h2 id="c81"><span class="small">INDEX</span></h2>
-<table class="center" summary="">
-<tr class="th"><th> </th><th>Page </th><th>Plate</th></tr>
-<tr><td class="l">Ahcacon </td><td class="l"><a href="#Page_25">25</a> </td><td class="l"><a class="htm" href="#fig3a">3a</a>, <a class="htm" href="#fig3b">3b</a>, <a class="htm" href="#fig3c">3c</a></td></tr>
-<tr><td class="l">Aleut </td><td class="l"><a href="#Page_22">22</a>, <a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig1c">1c</a>, <a class="htm" href="#fig1d">1d</a></td></tr>
-<tr><td class="l">Algonquin </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig3d">3d</a>, <a class="htm" href="#fig7c">7c</a></td></tr>
-<tr><td class="l">Alibamu </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig5d">5d</a></td></tr>
-<tr><td class="l">Apache </td><td class="l"><a href="#Page_3">3</a> </td><td class="l"><a class="htm" href="#fig6c">6c</a></td></tr>
-<tr><td class="l"><span class="hst">Chiricahua</span> </td><td class="l"><a href="#Page_5">5</a>, <a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig2a">2a</a></td></tr>
-<tr><td class="l"><span class="hst">San Carlos</span> </td><td class="l"><a href="#Page_5">5</a></td></tr>
-<tr><td class="l"><span class="hst">Tonto</span> </td><td class="l"><a href="#Page_5">5</a>, <a href="#Page_14">14</a> </td><td class="l"><a class="htm" href="#fig6c">6c</a></td></tr>
-<tr><td class="l"><span class="hst">Western</span> </td><td class="l"><a href="#Page_5">5</a> </td><td class="l"><a class="htm" href="#fig13a">13a</a></td></tr>
-<tr><td class="l"><span class="hst">White Mountain</span> </td><td class="l"><a href="#Page_12">12</a>, <a href="#Page_14">14</a> </td><td class="l"><a class="htm" href="#fig17c">17c</a></td></tr>
-<tr><td class="l"><span class="hst">Yavapai</span> </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_5">5</a> </td><td class="l"><a class="htm" href="#fig12d">12d</a></td></tr>
-<tr><td class="l">At the Landing of the Pilgrims </td><td class="l"><a href="#Page_7">7</a></td></tr>
-<tr><td class="l">Attu </td><td class="l"><a href="#Page_22">22</a>, <a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig1c">1c</a>, <a class="htm" href="#fig1d">1d</a></td></tr>
-<tr><td class="l">Autobiography </td><td class="l"><a href="#Page_31">31</a></td></tr>
-<tr><td class="l">Basket:</td></tr>
-<tr><td class="l"><span class="hst">Baby Cradle</span> </td><td class="l"><a href="#Page_24">24</a>, <a href="#Page_25">25</a> </td><td class="l"><a class="htm" href="#fig3a">3a</a>, <a class="htm" href="#fig3b">3b</a>, <a class="htm" href="#fig3c">3c</a></td></tr>
-<tr><td class="l"><span class="hst">Bag, Corn Husk</span> </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig15a">15a</a></td></tr>
-<tr><td class="l"><span class="hst">Baleen</span> </td><td class="l"><a href="#Page_21">21</a>, <a href="#Page_22">22</a> </td><td class="l"><a class="htm" href="#fig1b">1b</a></td></tr>
-<tr><td class="l"><span class="hst">Berry</span> </td><td class="l"><a href="#Page_15">15</a>, <a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig5a">5a</a>, <a class="htm" href="#fig5b">5b</a></td></tr>
-<tr><td class="l"><span class="hst">Birchbark</span> </td><td class="l"><a href="#Page_19">19</a>, <a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig3d">3d</a>, <a class="htm" href="#fig7c">7c</a>, <a class="htm" href="#fig7d">7d</a>, <a class="htm" href="#fig8c">8c</a></td></tr>
-<tr><td class="l"><span class="hst">Bird Cage</span> </td><td class="l"><a href="#Page_3">3</a></td></tr>
-<tr><td class="l"><span class="hst">Boiling</span> </td><td class="l"><a href="#Page_17">17</a> </td><td class="l"><a class="htm" href="#fig9c">9c</a></td></tr>
-<tr><td class="l"><span class="hst">Bowl</span> </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_15">15</a>, <a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig8b">8b</a>, <a class="htm" href="#fig10b">10b</a>, <a class="htm" href="#fig11b">11b</a>, <a class="htm" href="#fig11c">11c</a>, <a class="htm" href="#fig12b">12b</a></td></tr>
-<tr><td class="l"><span class="hst">Canoe</span> </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig7c">7c</a></td></tr>
-<tr><td class="l"><span class="hst">Burden</span> </td><td class="l"><a href="#Page_16">16</a>, <a href="#Page_17">17</a> </td><td class="l"><a class="htm" href="#fig9a">9a</a>, <a class="htm" href="#fig13c">13c</a>, <a class="htm" href="#fig13d">13d</a>, <a class="htm" href="#fig14a">14a</a>, <a class="htm" href="#fig14c">14c</a>, <a class="htm" href="#fig14d">14d</a></td></tr>
-<tr><td class="l"><span class="hst">Carrying</span> </td><td class="l"><a href="#Page_12">12</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a> </td><td class="l"><a class="htm" href="#fig9a">9a</a>, <a class="htm" href="#fig13c">13c</a>, <a class="htm" href="#fig13d">13d</a>, <a class="htm" href="#fig14a">14a</a>, <a class="htm" href="#fig14c">14c</a>, <a class="htm" href="#fig14d">14d</a>, <a class="htm" href="#fig17c">17c</a></td></tr>
-<tr><td class="l"><span class="hst">Ceremonial</span> </td><td class="l"><a href="#Page_6">6</a>, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a> </td><td class="l"><a class="htm" href="#fig17a">17a</a>, <a class="htm" href="#fig17b">17b</a>, <a class="htm" href="#fig17c">17c</a>, <a class="htm" href="#fig18a">18a</a>, <a class="htm" href="#fig18b">18b</a>, <a class="htm" href="#fig18c">18c</a>, <a class="htm" href="#fig18d">18d</a>, <a class="htm" href="#fig19a">19a</a>, <a class="htm" href="#fig19b">19b</a>, <a class="htm" href="#fig19c">19c</a>, <a class="htm" href="#fig20">20</a></td></tr>
-<tr><td class="l"><span class="hst">Clam</span> </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig9c">9c</a>, <a class="htm" href="#fig14b">14b</a></td></tr>
-<tr><td class="l"><span class="hst">Colander</span> </td><td class="l"><a href="#Page_3">3</a> </td><td class="l"><a class="htm" href="#fig10a">10a</a></td></tr>
-<tr><td class="l"><span class="hst">Cooking</span> </td><td class="l"><a href="#Page_3">3</a>, <a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig5a">5a</a>, <a class="htm" href="#fig9c">9c</a></td></tr>
-<tr><td class="l"><span class="hst">Corn Husk</span> </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig15a">15a</a></td></tr>
-<tr><td class="l"><span class="hst">Effigy</span> </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig5c">5c</a>, <a class="htm" href="#fig5d">5d</a></td></tr>
-<tr><td class="l"><span class="hst">Coming Out Dance</span> </td><td class="l"><a href="#Page_12">12</a>, <a href="#Page_13">13</a> </td><td class="l"><a class="htm" href="#fig17c">17c</a></td></tr>
-<tr class="pbtr"><td colspan="3">
-<span class="pb" id="Page_33">33</span>
-</td></tr>
-<tr><td class="l"><span class="hst">Egg</span> </td><td class="l"><a href="#Page_30">30</a></td></tr>
-<tr><td class="l"><span class="hst">Feathered</span> </td><td class="l"><a href="#Page_8">8</a>, <a href="#Page_12">12</a> </td><td class="l"><a class="htm" href="#fig18b">18b</a>, <a class="htm" href="#fig18c">18c</a>, <a class="htm" href="#fig18d">18d</a></td></tr>
-<tr><td class="l"><span class="hst">Fishing Creel</span> </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig3d">3d</a></td></tr>
-<tr><td class="l"><span class="hst">Fish Trap</span> </td><td class="l"><a href="#Page_3">3</a> </td><td class="l"><a class="htm" href="#fig4a">4a</a></td></tr>
-<tr><td class="l"><span class="hst">Food Bowl</span> </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig8b">8b</a>, <a class="htm" href="#fig10b">10b</a>, <a class="htm" href="#fig11b">11b</a>, <a class="htm" href="#fig11c">11c</a>, <a class="htm" href="#fig12b">12b</a></td></tr>
-<tr><td class="l"><span class="hst">Gambling</span> </td><td class="l"><a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig4b">4b</a>, <a class="htm" href="#fig4c">4c</a>, <a class="htm" href="#fig4d">4d</a></td></tr>
-<tr><td class="l"><span class="hst">Gathering</span> </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_15">15</a>, <a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig5a">5a</a>, <a class="htm" href="#fig5b">5b</a>, <a class="htm" href="#fig8c">8c</a>, <a class="htm" href="#fig14a">14a</a>, <a class="htm" href="#fig14b">14b</a></td></tr>
-<tr><td class="l"><span class="hst">Grasshopper</span> </td><td class="l"><a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig10c">10c</a>, <a class="htm" href="#fig14a">14a</a></td></tr>
-<tr><td class="l"><span class="hst">Harvest</span> </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig9a">9a</a></td></tr>
-<tr><td class="l"><span class="hst">Historical</span> </td><td class="l"><a href="#Page_7">7</a>, <a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig2c">2c</a>, <a class="htm" href="#fig2d">2d</a>, <a class="htm" href="#fig5b">5b</a></td></tr>
-<tr><td class="l"><span class="hst">Household</span> </td><td class="l"><a href="#Page_14">14</a> </td><td class="l"><a class="htm" href="#fig15b">15b</a>, <a class="htm" href="#fig15c">15c</a>, <a class="htm" href="#fig15d">15d</a>, <a class="htm" href="#fig16a">16a</a>, <a class="htm" href="#fig16b">16b</a>, <a class="htm" href="#fig16c">16c</a>, <a class="htm" href="#fig16d">16d</a></td></tr>
-<tr><td class="l"><span class="hst">Ideas Copied</span> </td><td class="l"><a href="#Page_3">3</a> </td><td class="l"><a class="htm" href="#fig4a">4a</a>, <a class="htm" href="#fig10a">10a</a></td></tr>
-<tr><td class="l"><span class="hst">Initiation Ceremony</span> </td><td class="l"><a href="#Page_10">10</a> </td><td class="l"><a href="#Page_20">20</a></td></tr>
-<tr><td class="l"><span class="hst">Jumping Dance</span> </td><td class="l"><a href="#Page_9">9</a> </td><td class="l"><a class="htm" href="#fig18a">18a</a></td></tr>
-<tr><td class="l"><span class="hst">Kachina</span> </td><td class="l"><a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig8b">8b</a></td></tr>
-<tr><td class="l"><span class="hst">Manioc Press</span> </td><td class="l"><a href="#Page_24">24</a> </td><td class="l"><a class="htm" href="#fig11a">11a</a></td></tr>
-<tr><td class="l"><span class="hst">Market</span> </td><td class="l"><a href="#Page_30">30</a></td></tr>
-<tr><td class="l"><span class="hst">Miniatures</span> </td><td class="l"><a href="#Page_20">20</a></td></tr>
-<tr><td class="l"><span class="hst">Moose Hair</span> </td><td class="l"><a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l"><span class="hst">Mortuary</span> </td><td class="l"><a href="#Page_8">8</a> </td><td class="l"><a class="htm" href="#fig18c">18c</a>, <a class="htm" href="#fig18d">18d</a></td></tr>
-<tr><td class="l"><span class="hst">Mourning Bowl</span> </td><td class="l"><a href="#Page_9">9</a> </td><td class="l"><a class="htm" href="#fig17d">17d</a></td></tr>
-<tr><td class="l"><span class="hst">Plaque</span> </td><td class="l"><a href="#Page_10">10</a>, <a href="#Page_11">11</a> </td><td class="l"><a class="htm" href="#fig19a">19a</a>, 20</td></tr>
-<tr><td class="l"><span class="hst">Porridge Bowl</span> </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig10b">10b</a></td></tr>
-<tr><td class="l"><span class="hst">Quilled</span> </td><td class="l"><a href="#Page_20">20</a> </td><td class="l"><a class="htm" href="#fig1a">1a</a></td></tr>
-<tr><td class="l"><span class="hst">Quiver</span> </td><td class="l"><a href="#Page_25">25</a> </td><td class="l">21</td></tr>
-<tr><td class="l"><span class="hst">Rinsing</span> </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig19d">19d</a></td></tr>
-<tr><td class="l"><span class="hst">Roasting Tray</span> </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig9d">9d</a></td></tr>
-<tr><td class="l"><span class="hst">Root Runner</span> </td><td class="l"><a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a></td></tr>
-<tr><td class="l"><span class="hst">Sally Bag</span> </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig15a">15a</a></td></tr>
-<tr><td class="l"><span class="hst">Seed Container</span> </td><td class="l"><a href="#Page_13">13</a> </td><td class="l"><a class="htm" href="#fig7b">7b</a></td></tr>
-<tr><td class="l"><span class="hst">Soyal</span> </td><td class="l"><a href="#Page_10">10</a> </td><td class="l">20</td></tr>
-<tr><td class="l"><span class="hst">Squash Blossom</span> </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig9b">9b</a></td></tr>
-<tr><td class="l"><span class="hst">Stewing</span> </td><td class="l"><a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig10c">10c</a></td></tr>
-<tr><td class="l"><span class="hst">Storage</span> </td><td class="l"><a href="#Page_3">3</a>, <a href="#Page_4">4</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a> </td><td class="l"><a class="htm" href="#fig6a">6a</a>, <a class="htm" href="#fig6b">6b</a>, <a class="htm" href="#fig6c">6c</a>, <a class="htm" href="#fig6d">6d</a>, <a class="htm" href="#fig7a">7a</a>, <a class="htm" href="#fig7b">7b</a>, <a class="htm" href="#fig7c">7c</a>, <a class="htm" href="#fig7d">7d</a>, <a class="htm" href="#fig8a">8a</a>, <a class="htm" href="#fig8b">8b</a></td></tr>
-<tr class="pbtr"><td colspan="3">
-<span class="pb" id="Page_34">34</span>
-</td></tr>
-<tr><td class="l"><span class="hst">Tray</span> </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig4d">4d</a>, <a class="htm" href="#fig8c">8c</a>, <a class="htm" href="#fig9b">9b</a>, <a class="htm" href="#fig9d">9d</a>, <a class="htm" href="#fig10d">10d</a></td></tr>
-<tr><td class="l"><span class="hst">Trinkets</span> </td><td class="l"><a href="#Page_18">18</a>, <a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig1b">1b</a>, <a class="htm" href="#fig5c">5c</a>, <a class="htm" href="#fig5d">5d</a>, <a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l"><span class="hst">Tump-line</span> </td><td class="l"><a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig13c">13c</a></td></tr>
-<tr><td class="l"><span class="hst">Unique Designs</span> </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig6b">6b</a>, <a class="htm" href="#fig10d">10d</a>, <a class="htm" href="#fig11b">11b</a>, <a class="htm" href="#fig11c">11c</a>, <a class="htm" href="#fig12a">12a</a>, <a class="htm" href="#fig12c">12c</a>, <a class="htm" href="#fig12d">12d</a>, <a class="htm" href="#fig15c">15c</a>, <a class="htm" href="#fig16c">16c</a>, <a class="htm" href="#fig19d">19d</a></td></tr>
-<tr><td class="l"><span class="hst">Utilitarian</span> </td><td class="l"><a href="#Page_7">7</a> </td><td class="l"><a class="htm" href="#fig2c">2c</a>, <a class="htm" href="#fig2d">2d</a></td></tr>
-<tr><td class="l"><span class="hst">Wall Pocket</span> </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig16c">16c</a></td></tr>
-<tr><td class="l"><span class="hst">Watertight</span> </td><td class="l"><a href="#Page_15">15</a>, <a href="#Page_17">17</a> </td><td class="l"><a class="htm" href="#fig2a">2a</a>, <a class="htm" href="#fig2b">2b</a>, <a class="htm" href="#fig9c">9c</a></td></tr>
-<tr><td class="l"><span class="hst">Water Bottle</span> </td><td class="l"><a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig2a">2a</a>, <a class="htm" href="#fig2b">2b</a></td></tr>
-<tr><td class="l"><span class="hst">Wedding</span> </td><td class="l"><a href="#Page_10">10</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a> </td><td class="l"><a class="htm" href="#fig18b">18b</a>, <a class="htm" href="#fig19a">19a</a>, <a class="htm" href="#fig19b">19b</a>, <a class="htm" href="#fig19c">19c</a></td></tr>
-<tr><td class="l"><span class="hst">Whalebone</span> </td><td class="l"><a href="#Page_21">21</a>, <a href="#Page_22">22</a> </td><td class="l"><a class="htm" href="#fig1b">1b</a></td></tr>
-<tr><td class="l"><span class="hst">Wild Rice</span> </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig8c">8c</a></td></tr>
-<tr><td class="l"><span class="hst">Wine</span> </td><td class="l"><a href="#Page_8">8</a> </td><td class="l"><a class="htm" href="#fig17b">17b</a></td></tr>
-<tr><td class="l"><span class="hst">Winnowing</span> </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig9b">9b</a></td></tr>
-<tr><td class="l">Basketry</td></tr>
-<tr><td class="l"><span class="hst">Aleut Island</span> </td><td class="l"><a href="#Page_22">22</a>, <a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig1c">1c</a>, <a class="htm" href="#fig1d">1d</a></td></tr>
-<tr><td class="l"><span class="hst">Birchbark</span> </td><td class="l"><a href="#Page_19">19</a>, <a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig3d">3d</a>, <a class="htm" href="#fig7c">7c</a>, <a class="htm" href="#fig7d">7d</a>, <a class="htm" href="#fig8c">8c</a>, <a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l"><span class="hst">Early</span> </td><td class="l"><a href="#Page_3">3</a></td></tr>
-<tr><td class="l"><span class="hst">General</span> </td><td class="l"><a href="#Page_1">1</a>, <a href="#Page_2">2</a></td></tr>
-<tr><td class="l"><span class="hst">Root Runner</span> </td><td class="l"><a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a></td></tr>
-<tr><td class="l"><span class="hst">Western Apache</span> </td><td class="l"><a href="#Page_5">5</a> </td><td class="l"><a class="htm" href="#fig13a">13a</a></td></tr>
-<tr><td class="l">Basket Makers </td><td class="l"><a href="#Page_13">13</a> </td><td class="l"><a class="htm" href="#fig7b">7b</a></td></tr>
-<tr><td class="l">Blow Gun </td><td class="l"><a href="#Page_25">25</a> </td><td class="l"><a class="htm" href="#fig21">21</a></td></tr>
-<tr><td class="l">Bluff Dwellers </td><td class="l"><a href="#Page_3">3</a></td></tr>
-<tr><td class="l">Bottle </td><td class="l"><a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig2a">2a</a>, <a class="htm" href="#fig2b">2b</a></td></tr>
-<tr><td class="l">Bowl </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_15">15</a>, <a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig4c">4c</a>, <a class="htm" href="#fig8b">8b</a>, <a class="htm" href="#fig10b">10b</a>, <a class="htm" href="#fig11b">11b</a>, <a class="htm" href="#fig11c">11c</a>, <a class="htm" href="#fig12b">12b</a></td></tr>
-<tr><td class="l">Buckbrush </td><td class="l"><a href="#Page_30">30</a></td></tr>
-<tr><td class="l">Box</td></tr>
-<tr><td class="l"><span class="hst">Canoe</span> </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig7c">7c</a></td></tr>
-<tr><td class="l"><span class="hst">Storage</span> </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig7c">7c</a>, <a class="htm" href="#fig7d">7d</a></td></tr>
-<tr><td class="l"><span class="hst">Household</span> </td><td class="l"><a href="#Page_20">20</a> </td><td class="l"><a class="htm" href="#fig1a">1a</a></td></tr>
-<tr><td class="l"><span class="hst">Trinket</span> </td><td class="l"><a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l">Catawba </td><td class="l"><a href="#Page_3">3</a> </td><td class="l"><a class="htm" href="#fig4a">4a</a></td></tr>
-<tr><td class="l">Central America </td><td class="l"><a href="#Page_24">24</a> </td><td class="l"><a class="htm" href="#fig11a">11a</a></td></tr>
-<tr class="pbtr"><td colspan="3">
-<span class="pb" id="Page_35">35</span>
-</td></tr>
-<tr><td class="l">Cacique </td><td class="l"><a href="#Page_10">10</a></td></tr>
-<tr><td class="l">Cahuilla </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig9a">9a</a>, <a class="htm" href="#fig12a">12a</a>, <a class="htm" href="#fig14a">14a</a></td></tr>
-<tr><td class="l">Carib </td><td class="l"><a href="#Page_24">24</a> </td><td class="l"><a class="htm" href="#fig11a">11a</a></td></tr>
-<tr><td class="l">Chemehueve </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig12c">12c</a></td></tr>
-<tr><td class="l">Cherokee </td><td class="l"><a href="#Page_1">1</a>, <a href="#Page_14">14</a>, <a href="#Page_16">16</a>, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a> </td><td class="l"><a class="htm" href="#fig15b">15b</a>, <a class="htm" href="#fig16d">16d</a>, <a class="htm" href="#fig21">21</a></td></tr>
-<tr><td class="l">Cheyenne </td><td class="l"><a href="#Page_23">23</a></td></tr>
-<tr><td class="l">Chippewa </td><td class="l"><a href="#Page_19">19</a>, <a href="#Page_20">20</a> </td><td class="l"><a class="htm" href="#fig1a">1a</a>, <a class="htm" href="#fig7d">7d</a>, <a class="htm" href="#fig8c">8c</a></td></tr>
-<tr><td class="l">Chiricahua </td><td class="l"><a href="#Page_5">5</a>, <a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig2a">2a</a></td></tr>
-<tr><td class="l">Chitimacha </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_14">14</a> </td><td class="l"><a class="htm" href="#fig15c">15c</a></td></tr>
-<tr><td class="l">Choctaw </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig5b">5b</a>, <a class="htm" href="#fig16c">16c</a></td></tr>
-<tr><td class="l">Cochiti </td><td class="l"><a href="#Page_3">3</a></td></tr>
-<tr><td class="l">Coming Out Dance </td><td class="l"><a href="#Page_12">12</a>, <a href="#Page_13">13</a> </td><td class="l"><a class="htm" href="#fig17c">17c</a></td></tr>
-<tr><td class="l">Decoration</td></tr>
-<tr><td class="l"><span class="hst">False Embroidery</span> </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig15a">15a</a></td></tr>
-<tr><td class="l"><span class="hst">Feather</span> </td><td class="l"><a href="#Page_8">8</a>, <a href="#Page_12">12</a> </td><td class="l"><a class="htm" href="#fig18b">18b</a>, <a class="htm" href="#fig18c">18c</a>, <a class="htm" href="#fig18d">18d</a></td></tr>
-<tr><td class="l"><span class="hst">Imbricated</span> </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig5a">5a</a></td></tr>
-<tr><td class="l"><span class="hst">Moose Hair</span> </td><td class="l"><a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l"><span class="hst">Painted</span> </td><td class="l"><a href="#Page_7">7</a> </td><td class="l"><a class="htm" href="#fig2d">2d</a></td></tr>
-<tr><td class="l"><span class="hst">Quilled</span> </td><td class="l"><a href="#Page_20">20</a> </td><td class="l"><a class="htm" href="#fig1a">1a</a></td></tr>
-<tr><td class="l">Dotsolalee </td><td class="l"><a href="#Page_6">6</a>, <a href="#Page_7">7</a> </td><td class="l"><a class="htm" href="#fig17a">17a</a></td></tr>
-<tr><td class="l">Effigy </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig5c">5c</a>, <a class="htm" href="#fig5d">5d</a></td></tr>
-<tr><td class="l">Embroidery, Moose Hair </td><td class="l"><a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l">Eskimo </td><td class="l"><a href="#Page_21">21</a>, <a href="#Page_22">22</a> </td><td class="l"><a class="htm" href="#fig1b">1b</a></td></tr>
-<tr><td class="l">Feathered </td><td class="l"><a href="#Page_8">8</a>, <a href="#Page_12">12</a> </td><td class="l"><a class="htm" href="#fig18b">18b</a>, <a class="htm" href="#fig18c">18c</a>, <a class="htm" href="#fig18d">18d</a></td></tr>
-<tr><td class="l">Feast of the Dead </td><td class="l"><a href="#Page_9">9</a> </td><td class="l"><a class="htm" href="#fig17d">17d</a></td></tr>
-<tr><td class="l">Frazier River </td><td class="l"><a href="#Page_24">24</a></td></tr>
-<tr><td class="l">Gabrielenos </td><td class="l"><a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig14d">14d</a></td></tr>
-<tr><td class="l">Gambling Devices </td><td class="l"><a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig4b">4b</a>, <a class="htm" href="#fig4c">4c</a>, <a class="htm" href="#fig4d">4d</a></td></tr>
-<tr><td class="l">Grasshopper </td><td class="l"><a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig10c">10c</a>, <a class="htm" href="#fig14a">14a</a></td></tr>
-<tr><td class="l">Gum Covered </td><td class="l"><a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig2a">2a</a>, <a class="htm" href="#fig2b">2b</a></td></tr>
-<tr><td class="l">Havasupai </td><td class="l"><a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig2b">2b</a></td></tr>
-<tr><td class="l">Honeysuckle </td><td class="l"><a href="#Page_1">1</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a></td></tr>
-<tr><td class="l">Historical </td><td class="l"><a href="#Page_7">7</a> </td><td class="l"><a class="htm" href="#fig2c">2c</a>, <a class="htm" href="#fig2d">2d</a></td></tr>
-<tr><td class="l">Hoopa </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_9">9</a>, <a href="#Page_14">14</a>, <a href="#Page_24">24</a> </td><td class="l"><a class="htm" href="#fig3b">3b</a>, <a class="htm" href="#fig10d">10d</a>, <a class="htm" href="#fig15d">15d</a>, <a class="htm" href="#fig18a">18a</a></td></tr>
-<tr><td class="l">Hopi </td><td class="l"><a href="#Page_2">2</a>, <a href="#Page_10">10</a>, <a href="#Page_15">15</a>, <a href="#Page_24">24</a> </td><td class="l"><a class="htm" href="#fig8b">8b</a>, <a class="htm" href="#fig19a">19a</a>, <a class="htm" href="#fig20">20</a></td></tr>
-<tr class="pbtr"><td colspan="3">
-<span class="pb" id="Page_36">36</span>
-</td></tr>
-<tr><td class="l">Houma </td><td class="l"><a href="#Page_25">25</a></td></tr>
-<tr><td class="l">Huron </td><td class="l"><a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l">Imbricated </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig5a">5a</a></td></tr>
-<tr><td class="l">Karoc </td><td class="l"><a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig13c">13c</a></td></tr>
-<tr><td class="l">Kiaha </td><td class="l"><a href="#Page_17">17</a> </td><td class="l"><a class="htm" href="#fig13d">13d</a></td></tr>
-<tr><td class="l">Kiva </td><td class="l"><a href="#Page_10">10</a></td></tr>
-<tr><td class="l">Klamath </td><td class="l"><a href="#Page_23">23</a></td></tr>
-<tr><td class="l">Mattaponi </td><td class="l"><a href="#Page_28">28</a></td></tr>
-<tr><td class="l">Malecite </td><td class="l"><a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l">Maidu </td><td class="l"><a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig14c">14c</a></td></tr>
-<tr><td class="l">Menominee </td><td class="l"><a href="#Page_9">9</a> </td><td class="l"><a class="htm" href="#fig17d">17d</a></td></tr>
-<tr><td class="l">Miniatures </td><td class="l"><a href="#Page_20">20</a></td></tr>
-<tr><td class="l">Mission </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig9a">9a</a>, <a class="htm" href="#fig11b">11b</a>, <a class="htm" href="#fig12a">12a</a>, <a class="htm" href="#fig14a">14a</a>, <a class="htm" href="#fig14d">14d</a></td></tr>
-<tr><td class="l">Modoc </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig9d">9d</a></td></tr>
-<tr><td class="l">Mono-Paiute </td><td class="l"><a href="#Page_24">24</a></td></tr>
-<tr><td class="l">Nahwehteete </td><td class="l"><a href="#Page_8">8</a></td></tr>
-<tr><td class="l">Navajo </td><td class="l"><a href="#Page_10">10</a>, <a href="#Page_15">15</a> </td><td class="l"><a class="htm" href="#fig19b">19b</a></td></tr>
-<tr><td class="l">Niantic </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig19d">19d</a></td></tr>
-<tr><td class="l">Ottawa </td><td class="l"><a href="#Page_13">13</a> </td><td class="l"><a class="htm" href="#fig6d">6d</a></td></tr>
-<tr><td class="l">Paiute </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_10">10</a>, <a href="#Page_16">16</a> </td><td class="l"><a class="htm" href="#fig10b">10b</a>, <a class="htm" href="#fig10c">10c</a>, <a class="htm" href="#fig19c">19c</a></td></tr>
-<tr><td class="l">Papago </td><td class="l"><a href="#Page_2">2</a>, <a href="#Page_8">8</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig5c">5c</a>, <a class="htm" href="#fig13d">13d</a>, <a class="htm" href="#fig17b">17b</a></td></tr>
-<tr><td class="l">Pamunkey </td><td class="l"><a href="#Page_28">28</a></td></tr>
-<tr><td class="l">Panamint </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig6b">6b</a>, <a class="htm" href="#fig11c">11c</a>, <a class="htm" href="#fig12b">12b</a></td></tr>
-<tr><td class="l">Passamaquoddy </td><td class="l"><a href="#Page_21">21</a> </td><td class="l"><a class="htm" href="#fig8d">8d</a></td></tr>
-<tr><td class="l">Pawnee </td><td class="l"><a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig4d">4d</a></td></tr>
-<tr><td class="l">Pennacook </td><td class="l"><a href="#Page_7">7</a> </td><td class="l"><a class="htm" href="#fig2d">2d</a></td></tr>
-<tr><td class="l">Penobscot </td><td class="l"><a href="#Page_3">3</a> </td><td class="l"><a class="htm" href="#fig10a">10a</a></td></tr>
-<tr><td class="l">Pilgrims </td><td class="l"><a href="#Page_7">7</a> </td><td class="l"><a class="htm" href="#fig2c">2c</a></td></tr>
-<tr><td class="l">Pima </td><td class="l"><a href="#Page_1">1</a>, <a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig9b">9b</a></td></tr>
-<tr><td class="l">Platter </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig12a">12a</a>, <a class="htm" href="#fig12c">12c</a>, <a class="htm" href="#fig12d">12d</a></td></tr>
-<tr><td class="l">Plaques </td><td class="l"><a href="#Page_10">10</a>, <a href="#Page_11">11</a> </td><td class="l"><a class="htm" href="#fig19a">19a</a>, <a class="htm" href="#fig20">20</a></td></tr>
-<tr><td class="l">Pomo </td><td class="l"><a href="#Page_8">8</a>, <a href="#Page_12">12</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a> </td><td class="l"><a class="htm" href="#fig3a">3a</a>, <a class="htm" href="#fig4b">4b</a>, <a class="htm" href="#fig18b">18b</a>, <a class="htm" href="#fig18c">18c</a>, <a class="htm" href="#fig18d">18d</a></td></tr>
-<tr><td class="l">Porcupine Quills </td><td class="l"><a href="#Page_20">20</a> </td><td class="l"><a class="htm" href="#fig1a">1a</a></td></tr>
-<tr><td class="l">Pueblo </td><td class="l"><a href="#Page_13">13</a>, <a href="#Page_24">24</a> </td><td class="l"><a class="htm" href="#fig7b">7b</a></td></tr>
-<tr><td class="l">Quileutes </td><td class="l"><a href="#Page_16">16</a></td></tr>
-<tr class="pbtr"><td colspan="3">
-<span class="pb" id="Page_37">37</span>
-</td></tr>
-<tr><td class="l">Quill Decoration </td><td class="l"><a href="#Page_20">20</a> </td><td class="l"><a class="htm" href="#fig1a">1a</a></td></tr>
-<tr><td class="l">Quinault </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig14b">14b</a></td></tr>
-<tr><td class="l">Quiver </td><td class="l"><a href="#Page_25">25</a> </td><td class="l"><a class="htm" href="#fig21">21</a></td></tr>
-<tr><td class="l">Rappahannock </td><td class="l"><a href="#Page_14">14</a>, <a href="#Page_28">28</a> </td><td class="l"><a class="htm" href="#fig16b">16b</a></td></tr>
-<tr><td class="l">Rinsing Basket </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig19d">19d</a></td></tr>
-<tr><td class="l">Root Runner Basketry </td><td class="l"><a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a></td></tr>
-<tr><td class="l">San Carlos </td><td class="l"><a href="#Page_5">5</a></td></tr>
-<tr><td class="l">Seneca-Cayuga </td><td class="l"><a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig4c">4c</a></td></tr>
-<tr><td class="l">Shoshone </td><td class="l"><a href="#Page_4">4</a> </td><td class="l"><a class="htm" href="#fig6b">6b</a>, <a class="htm" href="#fig11c">11c</a>, <a class="htm" href="#fig12b">12b</a></td></tr>
-<tr><td class="l">Soyal </td><td class="l"><a href="#Page_10">10</a> </td><td class="l"><a class="htm" href="#fig20">20</a></td></tr>
-<tr><td class="l">Specimens No Longer Made and Why </td><td class="l"><a href="#Page_3">3</a> </td><td class="l"><a class="htm" href="#fig6c">6c</a>, <a class="htm" href="#fig9c">9c</a></td></tr>
-<tr><td class="l">Speck, Frank G. </td><td class="l"><a href="#Page_26">26</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a></td></tr>
-<tr><td class="l">Symbolic Designs </td><td class="l"><a href="#Page_5">5</a> </td><td class="l"><a class="htm" href="#fig12b">12b</a></td></tr>
-<tr><td class="l">Thlinkits </td><td class="l"><a href="#Page_17">17</a> </td><td class="l"><a class="htm" href="#fig9c">9c</a></td></tr>
-<tr><td class="l">Tray </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_23">23</a> </td><td class="l"><a class="htm" href="#fig4d">4d</a>, <a class="htm" href="#fig9b">9b</a>, <a class="htm" href="#fig9d">9d</a>, <a class="htm" href="#fig10d">10d</a></td></tr>
-<tr><td class="l">Tonto </td><td class="l"><a href="#Page_5">5</a>, <a href="#Page_14">14</a> </td><td class="l"><a class="htm" href="#fig6c">6c</a></td></tr>
-<tr><td class="l">Umatilla </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig15a">15a</a></td></tr>
-<tr><td class="l">Ute </td><td class="l"><a href="#Page_24">24</a>, <a href="#Page_25">25</a> </td><td class="l"><a class="htm" href="#fig3c">3c</a></td></tr>
-<tr><td class="l">Vanishing Indian </td><td class="l"><a href="#Page_4">4</a></td></tr>
-<tr><td class="l">Wampanoag </td><td class="l"><a href="#Page_7">7</a> </td><td class="l"><a class="htm" href="#fig2c">2c</a></td></tr>
-<tr><td class="l">Whalebone </td><td class="l"><a href="#Page_21">21</a>, <a href="#Page_22">22</a> </td><td class="l"><a class="htm" href="#fig1b">1b</a></td></tr>
-<tr><td class="l">White Mountain Apache </td><td class="l"><a href="#Page_12">12</a>, <a href="#Page_14">14</a> </td><td class="l"><a class="htm" href="#fig17c">17c</a></td></tr>
-<tr><td class="l">Wickiup </td><td class="l"><a href="#Page_16">16</a></td></tr>
-<tr><td class="l">Washoe </td><td class="l"><a href="#Page_6">6</a>, <a href="#Page_7">7</a> </td><td class="l"><a class="htm" href="#fig17a">17a</a></td></tr>
-<tr><td class="l">Western Apache </td><td class="l"><a href="#Page_5">5</a> </td><td class="l"><a class="htm" href="#fig13a">13a</a></td></tr>
-<tr><td class="l">Yakima </td><td class="l"><a href="#Page_19">19</a> </td><td class="l"><a class="htm" href="#fig5a">5a</a></td></tr>
-<tr><td class="l">Yavapai Apache </td><td class="l"><a href="#Page_4">4</a>, <a href="#Page_5">5</a> </td><td class="l"><a class="htm" href="#fig12d">12d</a></td></tr>
-<tr><td class="l">Yuki </td><td class="l"><a href="#Page_27">27</a></td></tr>
-<tr><td class="l">Yokut </td><td class="l"><a href="#Page_14">14</a> </td><td class="l"><a class="htm" href="#fig16a">16a</a></td></tr>
-<tr><td class="l">Yurok </td><td class="l"><a href="#Page_18">18</a> </td><td class="l"><a class="htm" href="#fig9d">9d</a></td></tr>
-<tr><td class="l">Zuni </td><td class="l"><a href="#Page_16">16</a></td></tr>
-</table>
-<h2>Transcriber&rsquo;s Notes</h2>
-<ul>
-<li>Retained publication information from the printed edition: this eBook is public-domain in the country of publication.</li>
-<li>Silently corrected a few typos.</li>
-<li>Modified some references to plates for more convenient hyperlinking (e.g., &ldquo;Plate 17a &amp; c&rdquo; changed to &ldquo;Plate 17a, 17c&rdquo;).</li>
-<li>In the text versions only, text in <i>italics</i> is delimited by _underscores_.</li>
-</ul>
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of the Project Gutenberg EBook of The Art and the Romance of Indian
-Basketry, by Clark Field
-
-*** END OF THIS PROJECT GUTENBERG EBOOK ART, ROMANCE OF INDIAN BASKETRY ***
-
-***** This file should be named 62285-h.htm or 62285-h.zip *****
-This and all associated files of various formats will be found in:
-        http://www.gutenberg.org/6/2/2/8/62285/
-
-Produced by Stephen Hutcheson and the Online Distributed
-Proofreading Team at https://www.pgdp.net
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law 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. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  This eBook is for the use of anyone anywhere in the United States and
-  most other parts of the world 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. If you are not located in the
-  United States, you'll have to check the laws of the country where you
-  are located before using this ebook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-
-
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
-    Dr. Gregory B. Newby
-    Chief Executive and Director
-    gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
-
-
-</pre>
-
-</body>
-</html>
diff --git a/old/62285-h/images/cover.jpg b/old/62285-h/images/cover.jpg
deleted file mode 100644
index 93d18c6..0000000
--- a/old/62285-h/images/cover.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p01.jpg b/old/62285-h/images/p01.jpg
deleted file mode 100644
index 1288393..0000000
--- a/old/62285-h/images/p01.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p01b.jpg b/old/62285-h/images/p01b.jpg
deleted file mode 100644
index 1789c3c..0000000
--- a/old/62285-h/images/p01b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p01c.jpg b/old/62285-h/images/p01c.jpg
deleted file mode 100644
index 6985e8e..0000000
--- a/old/62285-h/images/p01c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p01d.jpg b/old/62285-h/images/p01d.jpg
deleted file mode 100644
index db342ba..0000000
--- a/old/62285-h/images/p01d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p01e.jpg b/old/62285-h/images/p01e.jpg
deleted file mode 100644
index 874077f..0000000
--- a/old/62285-h/images/p01e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p01f.jpg b/old/62285-h/images/p01f.jpg
deleted file mode 100644
index 88422dc..0000000
--- a/old/62285-h/images/p01f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p01g.jpg b/old/62285-h/images/p01g.jpg
deleted file mode 100644
index c0bcacb..0000000
--- a/old/62285-h/images/p01g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p01h.jpg b/old/62285-h/images/p01h.jpg
deleted file mode 100644
index 5343b54..0000000
--- a/old/62285-h/images/p01h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p02.jpg b/old/62285-h/images/p02.jpg
deleted file mode 100644
index 994adf0..0000000
--- a/old/62285-h/images/p02.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p02b.jpg b/old/62285-h/images/p02b.jpg
deleted file mode 100644
index bf48644..0000000
--- a/old/62285-h/images/p02b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p02c.jpg b/old/62285-h/images/p02c.jpg
deleted file mode 100644
index 8bf0380..0000000
--- a/old/62285-h/images/p02c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p02d.jpg b/old/62285-h/images/p02d.jpg
deleted file mode 100644
index c4867a8..0000000
--- a/old/62285-h/images/p02d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p02e.jpg b/old/62285-h/images/p02e.jpg
deleted file mode 100644
index 36a9748..0000000
--- a/old/62285-h/images/p02e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p02f.jpg b/old/62285-h/images/p02f.jpg
deleted file mode 100644
index 3b81ed4..0000000
--- a/old/62285-h/images/p02f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p02g.jpg b/old/62285-h/images/p02g.jpg
deleted file mode 100644
index c2f3bfa..0000000
--- a/old/62285-h/images/p02g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p02h.jpg b/old/62285-h/images/p02h.jpg
deleted file mode 100644
index 8726c10..0000000
--- a/old/62285-h/images/p02h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p03.jpg b/old/62285-h/images/p03.jpg
deleted file mode 100644
index 212b04a..0000000
--- a/old/62285-h/images/p03.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p03b.jpg b/old/62285-h/images/p03b.jpg
deleted file mode 100644
index b3b7876..0000000
--- a/old/62285-h/images/p03b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p03c.jpg b/old/62285-h/images/p03c.jpg
deleted file mode 100644
index 66e07ca..0000000
--- a/old/62285-h/images/p03c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p03d.jpg b/old/62285-h/images/p03d.jpg
deleted file mode 100644
index 889e068..0000000
--- a/old/62285-h/images/p03d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p03e.jpg b/old/62285-h/images/p03e.jpg
deleted file mode 100644
index 9ff51e1..0000000
--- a/old/62285-h/images/p03e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p03f.jpg b/old/62285-h/images/p03f.jpg
deleted file mode 100644
index fc12a00..0000000
--- a/old/62285-h/images/p03f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p03g.jpg b/old/62285-h/images/p03g.jpg
deleted file mode 100644
index 26f70bf..0000000
--- a/old/62285-h/images/p03g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p03h.jpg b/old/62285-h/images/p03h.jpg
deleted file mode 100644
index 20e696e..0000000
--- a/old/62285-h/images/p03h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04.jpg b/old/62285-h/images/p04.jpg
deleted file mode 100644
index 0f370a6..0000000
--- a/old/62285-h/images/p04.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04b.jpg b/old/62285-h/images/p04b.jpg
deleted file mode 100644
index bbc9792..0000000
--- a/old/62285-h/images/p04b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04c.jpg b/old/62285-h/images/p04c.jpg
deleted file mode 100644
index c346bdc..0000000
--- a/old/62285-h/images/p04c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04d.jpg b/old/62285-h/images/p04d.jpg
deleted file mode 100644
index 20e7c1d..0000000
--- a/old/62285-h/images/p04d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04e.jpg b/old/62285-h/images/p04e.jpg
deleted file mode 100644
index fb45a50..0000000
--- a/old/62285-h/images/p04e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04f.jpg b/old/62285-h/images/p04f.jpg
deleted file mode 100644
index d1981e9..0000000
--- a/old/62285-h/images/p04f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04g.jpg b/old/62285-h/images/p04g.jpg
deleted file mode 100644
index 5ddb87e..0000000
--- a/old/62285-h/images/p04g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04h.jpg b/old/62285-h/images/p04h.jpg
deleted file mode 100644
index 930e6dc..0000000
--- a/old/62285-h/images/p04h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p04m.jpg b/old/62285-h/images/p04m.jpg
deleted file mode 100644
index 6bdd54e..0000000
--- a/old/62285-h/images/p04m.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p05.jpg b/old/62285-h/images/p05.jpg
deleted file mode 100644
index 1356821..0000000
--- a/old/62285-h/images/p05.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p05b.jpg b/old/62285-h/images/p05b.jpg
deleted file mode 100644
index 4ba2e7a..0000000
--- a/old/62285-h/images/p05b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p05c.jpg b/old/62285-h/images/p05c.jpg
deleted file mode 100644
index a693a34..0000000
--- a/old/62285-h/images/p05c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p05d.jpg b/old/62285-h/images/p05d.jpg
deleted file mode 100644
index 60651f2..0000000
--- a/old/62285-h/images/p05d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p05e.jpg b/old/62285-h/images/p05e.jpg
deleted file mode 100644
index d99da72..0000000
--- a/old/62285-h/images/p05e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p05f.jpg b/old/62285-h/images/p05f.jpg
deleted file mode 100644
index 9d147b7..0000000
--- a/old/62285-h/images/p05f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p05g.jpg b/old/62285-h/images/p05g.jpg
deleted file mode 100644
index b324e2d..0000000
--- a/old/62285-h/images/p05g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p05h.jpg b/old/62285-h/images/p05h.jpg
deleted file mode 100644
index d8084ae..0000000
--- a/old/62285-h/images/p05h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p06.jpg b/old/62285-h/images/p06.jpg
deleted file mode 100644
index 69c2ce9..0000000
--- a/old/62285-h/images/p06.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p06b.jpg b/old/62285-h/images/p06b.jpg
deleted file mode 100644
index 16b3b3a..0000000
--- a/old/62285-h/images/p06b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p06d.jpg b/old/62285-h/images/p06d.jpg
deleted file mode 100644
index 219dbb2..0000000
--- a/old/62285-h/images/p06d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p06e.jpg b/old/62285-h/images/p06e.jpg
deleted file mode 100644
index defcd9a..0000000
--- a/old/62285-h/images/p06e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p06f.jpg b/old/62285-h/images/p06f.jpg
deleted file mode 100644
index dc39a0b..0000000
--- a/old/62285-h/images/p06f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p06g.jpg b/old/62285-h/images/p06g.jpg
deleted file mode 100644
index dcb18ed..0000000
--- a/old/62285-h/images/p06g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p06h.jpg b/old/62285-h/images/p06h.jpg
deleted file mode 100644
index c569d06..0000000
--- a/old/62285-h/images/p06h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p07.jpg b/old/62285-h/images/p07.jpg
deleted file mode 100644
index 16d3403..0000000
--- a/old/62285-h/images/p07.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p07b.jpg b/old/62285-h/images/p07b.jpg
deleted file mode 100644
index a6a6b28..0000000
--- a/old/62285-h/images/p07b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p07c.jpg b/old/62285-h/images/p07c.jpg
deleted file mode 100644
index d598cb0..0000000
--- a/old/62285-h/images/p07c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p07d.jpg b/old/62285-h/images/p07d.jpg
deleted file mode 100644
index 4e4fcd2..0000000
--- a/old/62285-h/images/p07d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p07e.jpg b/old/62285-h/images/p07e.jpg
deleted file mode 100644
index 1ad6b61..0000000
--- a/old/62285-h/images/p07e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p07f.jpg b/old/62285-h/images/p07f.jpg
deleted file mode 100644
index 4cd09cc..0000000
--- a/old/62285-h/images/p07f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p07g.jpg b/old/62285-h/images/p07g.jpg
deleted file mode 100644
index 29cb56f..0000000
--- a/old/62285-h/images/p07g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p07h.jpg b/old/62285-h/images/p07h.jpg
deleted file mode 100644
index 5cf6ff0..0000000
--- a/old/62285-h/images/p07h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p08.jpg b/old/62285-h/images/p08.jpg
deleted file mode 100644
index c067cd5..0000000
--- a/old/62285-h/images/p08.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p08b.jpg b/old/62285-h/images/p08b.jpg
deleted file mode 100644
index 910036a..0000000
--- a/old/62285-h/images/p08b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p08c.jpg b/old/62285-h/images/p08c.jpg
deleted file mode 100644
index 56d9c01..0000000
--- a/old/62285-h/images/p08c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p08d.jpg b/old/62285-h/images/p08d.jpg
deleted file mode 100644
index aa31d2e..0000000
--- a/old/62285-h/images/p08d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p08e.jpg b/old/62285-h/images/p08e.jpg
deleted file mode 100644
index e696406..0000000
--- a/old/62285-h/images/p08e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p08f.jpg b/old/62285-h/images/p08f.jpg
deleted file mode 100644
index 5ee2293..0000000
--- a/old/62285-h/images/p08f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p08g.jpg b/old/62285-h/images/p08g.jpg
deleted file mode 100644
index 30c5a02..0000000
--- a/old/62285-h/images/p08g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p08h.jpg b/old/62285-h/images/p08h.jpg
deleted file mode 100644
index 9ceabd8..0000000
--- a/old/62285-h/images/p08h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p09.jpg b/old/62285-h/images/p09.jpg
deleted file mode 100644
index 8d901fb..0000000
--- a/old/62285-h/images/p09.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p09b.jpg b/old/62285-h/images/p09b.jpg
deleted file mode 100644
index fcf8c0a..0000000
--- a/old/62285-h/images/p09b.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p09c.jpg b/old/62285-h/images/p09c.jpg
deleted file mode 100644
index b91267a..0000000
--- a/old/62285-h/images/p09c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p09d.jpg b/old/62285-h/images/p09d.jpg
deleted file mode 100644
index 78fee21..0000000
--- a/old/62285-h/images/p09d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p09e.jpg b/old/62285-h/images/p09e.jpg
deleted file mode 100644
index 70cf106..0000000
--- a/old/62285-h/images/p09e.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p09f.jpg b/old/62285-h/images/p09f.jpg
deleted file mode 100644
index 0ce116c..0000000
--- a/old/62285-h/images/p09f.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p09g.jpg b/old/62285-h/images/p09g.jpg
deleted file mode 100644
index 5332e5b..0000000
--- a/old/62285-h/images/p09g.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p09h.jpg b/old/62285-h/images/p09h.jpg
deleted file mode 100644
index 60ae97b..0000000
--- a/old/62285-h/images/p09h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p10.jpg b/old/62285-h/images/p10.jpg
deleted file mode 100644
index f5f6a6e..0000000
--- a/old/62285-h/images/p10.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p10a.jpg b/old/62285-h/images/p10a.jpg
deleted file mode 100644
index a19a342..0000000
--- a/old/62285-h/images/p10a.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p10c.jpg b/old/62285-h/images/p10c.jpg
deleted file mode 100644
index 67a0b03..0000000
--- a/old/62285-h/images/p10c.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p10d.jpg b/old/62285-h/images/p10d.jpg
deleted file mode 100644
index 90f72f1..0000000
--- a/old/62285-h/images/p10d.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p10h.jpg b/old/62285-h/images/p10h.jpg
deleted file mode 100644
index 12bae21..0000000
--- a/old/62285-h/images/p10h.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p11.jpg b/old/62285-h/images/p11.jpg
deleted file mode 100644
index f97a6a2..0000000
--- a/old/62285-h/images/p11.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p12.jpg b/old/62285-h/images/p12.jpg
deleted file mode 100644
index e48fcf0..0000000
--- a/old/62285-h/images/p12.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p12a.jpg b/old/62285-h/images/p12a.jpg
deleted file mode 100644
index 1afdec8..0000000
--- a/old/62285-h/images/p12a.jpg
+++ /dev/null
diff --git a/old/62285-h/images/p13.jpg b/old/62285-h/images/p13.jpg
deleted file mode 100644
index c1ed487..0000000
--- a/old/62285-h/images/p13.jpg
+++ /dev/null
diff --git a/old/62285-h/images/spine.jpg b/old/62285-h/images/spine.jpg
deleted file mode 100644
index e322629..0000000
--- a/old/62285-h/images/spine.jpg
+++ /dev/null
author	nfenwick <nfenwick@pglaf.org>	2025-01-30 21:30:11 -0800
committer	nfenwick <nfenwick@pglaf.org>	2025-01-30 21:30:11 -0800
commit	ef96ff0ab7e6b98965378f4009f8a91d702f1821 (patch)
tree	d5fb3fca8aa083e79c95b63b855a4d6b8af5bf8e
parent	72192a5300c9371df8dadaedeaf4fbc87e20213f (diff)