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

Plate No. 2

Plate No. 3

PLATE No. 4

Plate No. 5

Plate No. 6

Plate No. 7

Plate No. 8

Plate No. 9

Plate No. 10

Plate No. 11

Plate No. 12

Plate No. 13

Plate No. 14

Plate No. 15

Plate No. 16

Plate No. 17

Plate No. 18

Plate No. 19

Plate No. 20

Plate No. 21

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

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

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

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_.