es, no thermometer for controlling temperatures, no stencil or pattern set down upon paper for laying out the designs. The perfection of the finished work depends upon

prepare their raw materials, just as the Navajo woman has usually a blanket underway or the Apache a basket starte

those for fertility are expressed by leaves, flowers, seed pods, while fantastic birds and feathers accompany these to carry the prayers. It may be admitted that the modern craftsman is often enough ignorant of the full early significance of the mot

blesome stranger to whom any real explanation would be difficult and who would quite likely run away in the middle of the patient explanation to look at something else. Only those whose friendship and understanding have been tested will be likely to be told of that

emonial. The old pottery maker never speaks in a loud tone while firing her ware and often sings softly for fear the new being or spirit of the pot will become agitated and break the pot in trying to escape. Nampeo, the ven

w who become real artists, ambitious to save from oblivion the significance and idealism of the old art that was done for t

0 awarded in prizes. The attendance total of visitors was 1,642. From this exhibit a representative collection of Hopi Art was assembled for the Exposition of Indian Tribal Arts at the Grand Central Galleries, New York City, in December of the same year. A gratifying feature of these annual exhibits is the fact that g

he mythology of the tribe, women wrote it down in symbols on

ymbol is used on everything. Corn has always been the bread of life to the Hopi, but it has been more than food, it has been bound up by symbolism with his ideas of all fertility and beneficence. Hopi myths and rituals recognize the dependence of their whole culture on corn. They speak of corn as the