de ,france 7,bn,f_/,gallica7 at         
http3_/_/gallica4bnf4fr7                
,,smithsonian ,,institution--,,bureau   
,,of ,,ethnology4   ,,navajo ,,weavers4 
,,by  ,,dr4 ,,washington ,,matthews1    
,u4,s4,a4    ,third ,annual ,report of  
the ,bureau of ,ethnology to the        
,secretary of the ,smithsonian          
,institution1 #ahha-'hb1 ,government    
,printing ,office1 ,washington1 #ahhd1  
pages #cga-cib4     ,,illustrations4    
,,plate ,,xxxiv4--,navajo woman spinning
                           #cgf         
,,xxxv4--,weaving of diamond-shaped     
diagonals             #chj              
,,xxxvi4--,navajo woman weaving a belt  
#chd      ,,xxxvii4--,zuni women weaving
 a belt                       #chh      
,,xxxviii4--,bringing down the batten   
#cij     ,,fig4 #db4--,ordinary ,navajo 
blanket loom                    #cgh    
#dc4--;,diagram showing formation of    
warp               #cgi                 
#dd4--,weaving of saddle-girth          
#chb          #de4--;,diagram showing   

arrangement of threads of               
the warp in the healds and on the rod   
#chc          #df4--,weaving of         
saddle-girth                            
#chc          #dg4--;,diagram showing   
arrangement of healds in                
diagonal weaving                        
#chd          #dh4--;,diagonal cloth    
#chd          #di4--,navajo blanket of  
the finest quality            #che      
#ej4--,navajo blankets                  
#chf          #ea4--,navajo blanket     
#chf          #eb4--,navajo blanket     
#chg          #ec4--,navajo blanket     
#chg          #ed4--,part of ,navajo    
blanket                          #chh   
#ee4--,part of ,navajo blanket          
#chh          #ef4--;,diagram showing   
formation of warp of sash       #chh    
#eg4--,section of ,navajo belt          
#chi          #eh4--,wooden heald of the
 ,zunis                       #chi      
#ei4--;,girl weaving 7from an ,aztec    
picture7            #cia     ,,navajo   
,,weavers4  ,,by ,,dr4 ,,washington     

,,matthews4   ,sec4 ,i4 ,the art of     
weaving1 as it exists among the ,navajo 
,indians of ,new ,mexico and ,arizona1  
possesses points of great interest to   
the student of ethnography4 ,it is of   
aboriginal origin2 and while ,european  
art has undoubtedly modified it1 the    
extent and nature of the foreign        
influence is easily traced4 ,it is by no
 means certain1 still there are many    
reasons for supposing1 that the ,navajos
 learned their craft from the ,pueblo   
,indians1 and that1 too1 since the      
advent of the ,spaniards2 yet the       
pupils1 if such they be1 far excel their
 masters to-day in the beauty and       
quality of their work4 ,it may be safely
 stated that with no native tribe in    
,america1 north of the ,mexican         
boundary1 has the art of weaving been   
carried to greater perfection than among
 the ,navajos1 while with none in the   
entire continent is it less             
,europeanized4 ,as in language1 habits1 
and opinions1 so in arts1 the ,navajos  

have been less influenced than their    
sedentary neighbors of the pueblos by   
the civilization of the ,old ,world4    
,the superiority of the ,navajo to the  
,pueblo work results not only from a    
constant advance of the weaver's art    
among the former1 but from a constant   
deterioration of it among the latter4   
,the chief cause of this deterioration  
is that the ,pueblos find it more       
remunerative to buy1 at least the finer 
serapes1 from the ,navajos1 and give    
their time to other pursuits1 than to   
manufacture for themselves2 they are    
nearer the white settlements and can get
 better prices for their produce2 they  
give more attention to agriculture2 they
 have within their country1 mines of    
turquoise which the ,navajos prize1 and 
they have no trouble in procuring       
whisky1 which some of the ,navajos prize
 even more than gems4 ,consequently1    
while the wilder ,indian has incentives 
to improve his art1 the more advanced   
has many temptations to abandon it      

altogether4 ,in some pueblos the skill  
of the loom has been almost forgotten4  
,a growing fondness for ,european       
clothing has also had its influence1 no 
doubt4  ,sec4 ,,ii4 ,cotton1 which grows
 well in ,new ,mexico and ,arizona1 the 
tough fibers of yucca leaves and the    
fibers of other plants1 the hair of     
different quadrupeds1 and the down of   
birds furnished in prehistoric days the 
materials of textile fabrics in this    
country4 ,while some of the ,pueblos    
still weave their native cotton to a    
slight extent1 the ,navajos grow no     
cotton and spin nothing but the wool of 
the domestic sheep1 which animal is1 of 
course1 of ,spanish introduction1 and of
 which the ,navajos have vast herds4    
,the wool is not washed until it is     
sheared4 ,at the present time it is     
combed with hand cards purchased from   
the ,americans4 ,in spinning1 the       
simplest form of the spindle--a slender 
stick thrust through the center of a    
round wooden disk--is used4 ,the        

,mexicans on the ,rio ,grande use       
spinning-wheels1 and although the       
,navajos have often seen these wheels1  
have had abundant opportunities for     
buying and stealing them1 and possess1  
,i think1 sufficient ingenuity to make  
them1 they have never abandoned the rude
 implement of their ancestors4 ,plate   
,,xxxiv illustrates the ,navajo method  
of handling the spindle1 a method       
different from that of the people of    
,zuni4  ,they still employ to a great   
extent their native dyes3 of yellow1    
reddish1 and black4 ,there is good      
evidence that they formerly had a blue  
dye2 but indigo1 originally introduced1 
,i think1 by the ,mexicans1 has         
superseded this4 ,if they1 in former    
days1 had a native blue and a native    
yellow1 they must also1 of course1 have 
had a green1 and they now make green of 
their native yellow and indigo1 the     
latter being the only imported dye-stuff
 ,i have ever seen in use among them4   
,besides the hues above indicated1 this 

people have had1 ever since the         
introduction of sheep1 wool of three    
different natural colors--white1 rusty  
black1 and gray--so they had always a   
fair range of tints with which to       
execute their artistic designs4 ,the    
brilliant red figures in their finer    
blankets were1 a few years ago1 made    
entirely of bayeta1 and this material is
 still largely used4 ,bayeta is a bright
 scarlet cloth with a long nap1 much    
finer in appearance than the scarlet    
strouding which forms such an important 
article in the ,indian trade of the     
,north4 ,it was originally brought to   
the ,navajo country from ,mexico1 but is
 now supplied to the trade from our     
eastern cities4 ,the ,indians ravel it  
and use the weft4 ,while many handsome  
blankets are still made only of the     
colors and material above described1    
,american yarn has lately become very   
popular among the ,navajos1 and many    
fine blankets are now made wholly1 or in
 part1 of ,germantown wool4  ,the black 

dye mentioned above is made of the twigs
 and leaves of the aromatic sumac 7,rhus
 aromatica71 a native yellow ocher1 and 
the gum of the pinon 7,pinus edulis74   
,the process of preparing it is as      
follows3 ,they put into a pot of water  
some of the leaves of the sumac1 and as 
many of the branchlets as can be crowded
 in without much breaking or crushing1  
and the water is allowed to boil for    
five or six hours until a strong        
decoction is made4 ,while the water is  
boiling they attend to other parts of   
the process4 ,the ocher is reduced to a 
fine powder between two stones and then 
slowly roasted over the fire in an      
earthen or metal vessel until it assumes
 a light-brown color2 it is then taken  
from the fire and combined with about an
 equal quantity in size of pinon gum2   
again the mixture is put on the fire and
 constantly stirred4 ,at first the gum  
melts and the whole mass assumes a mushy
 consistency2 but as the roasting       
progresses it gradually becomes drier   

and darker until it is at last reduced  
to a fine black powder4 ,this is removed
 from the fire1 and when it has cooled  
somewhat it is thrown into the decoction
 of sumac1 with which it instantly forms
 a rich1 blue-black fluid4 ,this dye is 
essentially an ink1 the tannic acid of  
the sumac combining with the sesquioxide
 of iron in the roasted ocher1 the whole
 enriched by the carbon of the calcined 
gum4  ,illustration3 ,,pl4              
,,xxxiv4--,,navajo ,,woman ,,spinning4  
,there are1 the ,indians tell me1 three 
different processes for dyeing yellow2  
two of these ,i have witnessed4 ,the    
first process is thus conducted3 ,the   
flowering tops of ,bigelovia graveolens 
are boiled for about six hours until a  
decoction of deep yellow color is       
produced4 ,when the dyer thinks the     
decoction strong enough1 she heats over 
the fire in a pan or earthen vessel some
 native almogen 7an impure native alum71
 until it is reduced to a somewhat pasty
 consistency2 this she adds gradually to

 the decoction and then puts the wool in
 the dye to boil4 ,from time to time a  
portion of the wool is taken out and    
inspected until 7in about half an hour  
from the time it is first immersed7 it  
is seen to have assumed the proper      
color4 ,the work is then done4 ,the tint
 produced is nearly that of lemon       
yellow4 ,in the second process they use 
the large1 fleshy root of a plant which1
 as ,i have never yet seen it in fruit  
or flower1 ,i am unable to determine4   
,the fresh root is crushed to a soft    
paste on the metate1 and1 for a mordant1
 the almogen is added while the grinding
 is going on4 ,the cold paste is then   
rubbed between the hands into the wool4 
,if the wool does not seem to take the  
color readily a little water is dashed  
on the mixture of wool and paste1 and   
the whole is very slightly warmed4 ,the 
entire process does not occupy over an  
hour and the result is a color much like
 that now known as old gold4  ,the      
reddish dye is made of the bark of      

,alnus incana var4 virescens 7,watson7  
and the bark of the root of ,cercocarpus
 parvifolius2 the mordant being fine    
juniper ashes4 ,on buckskin this makes a
 brilliant tan-color2 but applied to    
wool it produces a much paler tint4     
,sec4 ,,iii4 ,plate ,,xxxviii and ,fig4 
#db illustrate ordinary blanket-looms4  
,two posts1 a a1 are set firmly in the  
ground2 to these are lashed two         
cross-pieces or braces1 b c1 the whole  
forming the frame of the loom4          
,sometimes two slender trees1 growing at
 a convenient distance from one another1
 are made to answer for the posts1 d is 
a horizontal pole1 which ,i call the    
supplementary yarn-beam1 attached to the
 upper brace1 b1 by means of a rope1 e  
e1 spirally applied4 f is the upper beam
 of the loom4 ,as it is analogous to the
 yarn-beam of our looms1 ,i will call it
 by this name1 although once only have  
,i seen the warp wound around it4 ,it   
lies parallel to the pole d1 about #b or
 #c inches below it1 and is attached to 

the latter by a number of loops1 g g4 ,a
 spiral cord wound around the yarn-beam 
holds the upper border cord h h1 which1 
in turn1 secures the upper end of the   
warp i i4 ,the lower beam of the loom is
 shown at k4 ,i will call this the      
cloth-beam1 although the finished web is
 never wound around it2 it is tied      
firmly to the lower brace1 c1 of the    
frame1 and to it is secured the lower   
border cord of the blanket4 ,the        
original distance between the two beams 
is the length of the blanket4 ,lying    
between the threads of the warp is      
depicted a broad1 thin1 oaken stick1 l1 
which ,i will call the batten4 ,a set of
 healds attached to a heald-rod1 m1 are 
shown above the batten4 ,these healds   
are made of cord or yarn2 they include  
alternate threads of the warp1 and serve
 when drawn forward to open the lower   
shed4 ,the upper shed is kept patent by 
a stout rod1 n 7having no healds        
attached71 which ,i name the shed-rod4  
,their substitute for the reed of our   

looms is a wooden fork1 which will be   
designated as the reed-fork 7,fig4 #dd1 
a74  ,illustration3 ,,fig4              
#db4--,ordinary ,navajo blanket loom4   
,for convenience of description1 ,i am  
obliged to use the word shuttle1        
although1 strictly speaking1 the ,navajo
 has no shuttle4 ,if the figure to be   
woven is a long stripe1 or one where the
 weft must be passed through #f inches  
or more of the shed at one time1 the    
yarn is wound on a slender twig or      
splinter1 or shoved through on the end  
of such a piece of wood2 but where the  
pattern is intricate1 and the weft      
passes at each turn through only a few  
inches of the shed1 the yarn is wound   
into small skeins or balls and shoved   
through with the finger4  ,sec4 ,,iv4   
,the warp is thus constructed3 ,a frame 
of four sticks is made1 not unlike the  
frame of the loom1 but lying on or near 
the ground1 instead of standing erect4  
,the two sticks forming the sides of the
 frame are rough saplings or rails2 the 

two forming the top and bottom are      
smooth rounded poles--often the poles   
which afterwards serve as the beams of  
the loom2 these are placed parallel to  
one another1 their distance apart       
depending on the length of the projected
 blanket4  ,on these poles the warp is  
laid in a continuous string4 ,it is     
first firmly tied to one of the poles1  
which ,i will call ,no4 #a 7,fig4 #dc72 
then it is passed over the other pole1  
,no4 #b1 brought back under ,no4 #b and 
over ,no4 #a1 forward again under ,no4  
#a and over ,no4 #b1 and so on to the   
end4 ,thus the first1 third1 fifth1 c41 
turns of the cord cross in the middle   
the second1 fourth1 sixth1 c41 forming a
 series of elongated figures #h1 as     
shown in the following diagram--        
,illustration3 ,,fig4 #dc4--;,diagram   
showing formation of warp4  and making1 
in the very beginning of the process1   
the two sheds1 which are kept distinct  
throughout the whole work4 ,when        
sufficient string has been laid the end 

is tied to pole ,no4 #b1 and a rod is   
placed in each shed to keep it open1 the
 rods being afterwards tied together at 
the ends to prevent them from falling   
out4  ,this done1 the weaver takes three
 strings 7which are afterwards twilled  
into one1 as will appear7 and ties them 
together at one end4 ,she now sits      
outside one of the poles1 looking       
towards the centre of the frame1 and    
proceeds thus3 7#a7 ,she secures the    
triple cord to the pole immediately to  
the left of the warp2 7#b7 then she     
takes one of the threads 7or strands as 
they now become7 and passes it under the
 first turn of the warp2 7#c7 next she  
takes a second strand1 and twilling it  
once or oftener with the other strands1 
includes with it the second bend of the 
warp2 7#d7 this done1 she takes the     
third strand and1 twilling it as before1
 passes it under the third bend of the  
warp1 and thus she goes on until the    
entire warp in one place is secured     
between the strands of the cord2 7#e7   

then she pulls the string to its fullest
 extent1 and in doing so separates the  
threads of the warp from one another2   
7#f7 a similar three stranded cord is   
applied to the other end of the warp1   
along the outside of the other pole4    
,at this stage of the work these stout  
cords lie along the outer surfaces of   
the poles1 parallel with the axes of the
 latter1 but when the warp is taken off 
the poles and applied to the beams of   
the loom by the spiral thread1 as above 
described1 and as depicted in ,plate    
,,xxxviii and ,fig4 #db1 and all is     
ready for weaving1 the cords appear on  
the inner sides of the beams1 i4e41 one 
7,pl4 ,,xxxviii and ,fig4 #db1 h h7 at  
the lower side of the yarn-beam1 the    
other at the upper side of the          
cloth-beam1 and when the blanket is     
finished they form the stout end margins
 of the web4 ,in the coarser grade of   
blankets the cords are removed and the  
ends of the warp tied in pairs and made 
to form a fringe4 7,see ,figs4 #ed and  

#ee47  ,when the warp is transferred to 
the loom the rod which was placed in the
 upper shed remains there1 or another   
rod1 straighter and smoother1 is        
substituted for it2 but with the lower  
shed1 healds are applied to the anterior
 threads and the rod is withdrawn4      
,sec4 ,v4 ,the mode of applying the     
healds is simple3 7#a7 the weaver sits  
facing the loom in the position for     
weaving2 7#b7 she lays at the right 7her
 right7 side of the loom a ball of      
string which she knows contains more    
than sufficient material to make the    
healds2 7#c7 she takes the end of this  
string and passes it to the left through
 the shed1 leaving the ball in its      
original position2 7#d7 she ties a loop 
at the end of the string large enough to
 admit the heald-rod2 7#e7 she holds    
horizontally in her left hand a         
straightish slender rod1 which is to    
become the heald-rod--its right         
extremity touching the left edge of the 
warp--and passes the rod through the    

loop until the point of the stick is    
even with the third 7second anterior    
from the left7 thread of the warp2 7#f7 
she puts her finger through the space   
between the first and third threads and 
draws out a fold of the heald-string2   
7#g7 she twists this once around1 so as 
to form a loop1 and pushes the point of 
the heald-rod on to the right through   
this loop2 7#h7 she puts her finger into
 the next space and forms another loop2 
7#i7 and so on she continues to advance 
her rod and form her loops from left to 
right until each of the anterior        
7alternate7 warp-threads of the lower   
shed is included in a loop of the heald2
 7#aj7 when the last loop is made she   
ties the string firmly to the rod near  
its right end4  ,when the weaving is    
nearly done and it becomes necessary to 
remove the healds1 the rod is drawn out 
of the loops1 a slight pull is made at  
the thread1 the loops fall in an        
instant1 and the straightened string is 
drawn out of the shed4 ,illustrations of

 the healds may be seen in ,plates      
,,xxxv and ,,xxxviii and ,figs4 #db1    
#dd1 and #df1 that in ,fig4 #df being   
the most distinct4  ,sec4 ,,vi4 ,in     
making a blanket the operator sits on   
the ground with her legs folded under   
her4 ,the warp hangs vertically before  
her1 and 7excepting in a case to be     
mentioned7 she weaves from below        
upwards4 ,as she never rises from this  
squatting posture when at work1 it is   
evident that when she has woven the web 
to a certain height further work must   
become inconvenient or impossible unless
 by some arrangement the finished web is
 drawn downwards4 ,her cloth-beam does  
not revolve as in our looms1 so she     
brings her work within easy reach by the
 following method3 ,the spiral rope     
7,plate ,,xxxviii and ,fig4 #db7 is     
loosened1 the yarn-beam is lowered to   
the desired distance1 a fold is made in 
the loosened web1 and the upper edge of 
the fold is sewed down tightly to the   
cloth-beam4 ,in all new blankets over   

two feet long the marks of this sewing  
are to be seen1 and they often remain   
until the blanket is worn out4 ,plate   
,,xxxv1 representing a blanket nearly   
finished1 illustrates this procedure4   
,except in belts1 girths1 and perhaps   
occasionally in very narrow blankets1   
the shuttle is never passed through the 
whole width of the warp at once1 but    
only through a space which does not     
exceed the length of the batten2 for it 
is by means of the batten1 which is     
rarely more than #c feet long1 that the 
shed is opened4  ,illustration3 ,,pl4   
,,xxxv4--,,weaving ,,of                 
,,diamond-,,shaped ,,diagonals4         
,suppose the woman begins by weaving in 
the lower shed4 ,she draws apportion of 
the healds towards her1 and with them   
the anterior threads of the shed2 by    
this motion she opens the shed about #a 
inch1 which is not sufficient for the   
easy passage of the woof4 ,she inserts  
her batten edgewise into this opening   
and then turns it half around on its    

long axis1 so that its broad surfaces   
lie horizontally2 in this way the shed  
is opened to the extent of the width of 
the batten--about #c inches2 next the   
weft is passed through4 ,in fig4 #db the
 batten is shown lying edgewise 7its    
broad surfaces vertical71 as it appears 
when just inserted into the shed1 and   
the weft1 which has been passed through 
only a portion of the shed1 is seen     
hanging out with its end on the ground4 
,in ,plate ,,xxxv the batten is shown in
 the second position described1 with the
 shed open to the fullest extent        
necessary1 and the weaver is represented
 in the act of passing the shuttle      
through4 ,when the weft is in1 it is    
shoved down into its proper position by 
means of the reed-fork1 and then the    
batten1 restored to its first position  
7edgewise71 is brought down with firm   
blows on the weft4 ,it is by the        
vigorous use of the batten that the     
,navajo serapes are rendered            
water-proof4 ,in ,plate ,,xxxviii the   

weaver is seen bringing down this       
instrument in the manner and for the    
purpose described1 as the letters patent
 say4  ,when the lower shed has received
 its thread of weft the weaver opens the
 upper shed4 ,this is done by releasing 
the healds and shoving the shed-rod down
 until it comes in contact with the     
healds2 this opens the upper shed down  
to the web4 ,then the weft is inserted  
and the batten and reed-fork used as    
before4 ,thus she goes on with each shed
 alternately until the web is finished4 
,it is1 of course1 desirable1 at least  
in handsome blankets of intricate       
pattern1 to have both ends uniform even 
if the figure be a little faulty in the 
center4 ,to accomplish this some of the 
best weavers depend on a careful        
estimate of the length of each figure   
before they begin1 and weave            
continuously in one direction2 but the  
majority weave a little portion of the  
upper end before they finish the middle4
 ,sometimes this is done by weaving from

 above downwards2 at other times it is  
done by turning the loom upside down and
 working from below upwards in the      
ordinary manner4 ,in ,fig4 #di1 which   
represents one of the very finest       
results of ,navajo work1 by the best    
weaver in the tribe1 it will be seen    
that exact uniformity in the ends has   
not been attained4 ,the figure was of   
such a nature that the blanket had to be
 woven in one direction only4  ,i have  
described how the ends of the blanket   
are bordered with a stout three-ply     
string applied to the folds of the warp4
 ,the lateral edges of the blanket are  
similarly protected by stout cords      
applied to the weft4 ,the way in which  
these are woven in1 next demands our    
attention4 ,two stout worsted cords1    
tied together1 are firmly attached at   
each end of the cloth-beam just outside 
of the warp2 they are then carried      
upwards and loosely tied to the         
yarn-beam or the supplementary          
yarn-beam4 ,every time the weft is      

turned at the edge these two strings are
 twisted together and the weft is passed
 through the twist2 thus one thread or  
strand of this border is always on the  
outside4 ,as it is constantly twisted in
 one direction1 it is evident that1     
after a while1 a counter-twist must form
 which would render the passage of the  
weft between the cords difficult1 if the
 cords could not be untwisted again4    
,here the object of tying these cords   
loosely to one of the upper beams1 as   
before described1 is displayed4 ,from   
time to time the cords are untied and   
the unwoven portion straightened as the 
work progresses4 ,fig4 #dd and ,plate   
,,xxxviii show these cords4 ,the coarse 
blankets do not have them4 7,fig #db47  
,navajo blankets are single-ply1 with   
designs the same on both sides1 no      
matter how elaborate these designs may  
be4 ,to produce their varigated patterns
 they have a separate skein1 shuttle1 or
 thread for each component of the       
pattern4 ,take1 for instance1 the       

blanket depicted in ,fig4 #di4 ,across  
this blanket1 between the points a--b1  
we have two serrated borders1 two white 
spaces1 a small diamond in the center1  
and twenty-four serrated stripes1 making
 in all twenty-nine component parts of  
the pattern4 ,now1 when the weaver was  
working in this place1 twenty-nine      
different threads of weft might have    
been seen hanging from the face of the  
web at one time4 ,in the girth pictured 
in ,fig4 #dd five different threads of  
woof are shown depending from the loom4 
,illustration3 ,,fig4 #dd4--,weaving of 
saddle-girth4  ,when the web is so      
nearly finished that the batten can no  
longer be inserted in the warp1 slender 
rods are placed in the shed1 while the  
weft is passed with increased difficulty
 on the end of a delicate splinter and  
the reed-fork alone presses the warp    
home4 ,later it becomes necessary to    
remove even the rod and the shed2 then  
the alternate threads are separated by a
 slender stick worked in tediously      

between them1 and two threads of woof   
are inserted--one above and the other   
below the stick4 ,the very last thread  
is sometimes put in with a darning      
needle4 ,the weaving of the last three  
inches requires more labor than any foot
 of the previous work4  ,in ,figs4 #di1 
#ej1 #ea1 #eb1 and #ec it will be seen  
that there are small fringes or tassels 
at the corners of the blankets2 these   
are made of the redundant ends of the   
four border-cords 7i4e41 the portions of
 the cord by which they were tied to the
 beams71 either simply tied together or 
secured in the web with a few stitches4 
,the above is a description of the      
simplest mechanism by which the ,navajos
 make their blankets2 but in            
manufacturing diagonals1 sashes1        
garters1 and hair-bands the mechanism is
 much more complicated4  ,sec4 ,,vii4   
,for making diagonals the warp is       
divided into four sheds2 the uppermost  
one of these is provided with a         
shed-rod1 the others are supplied with  

healds4 ,i will number the healds and   
sheds from below upwards4 ,the following
 diagram shows how the threads of the   
warp are arranged in the healds and on  
the rod4  ,illustration3 ,,fig4         
#de4--;,diagram showing arrangement of  
threads of the warp in the healds and on
 the rod4  ,illustration3 ,,fig4        
#df4--,weaving of saddle-girth4  ,when  
the weaver wishes the diagonal ridges to
 run upwards from right to left1 she    
opens the sheds in regular order from   
below upwards thus3 ,first1 second1     
third1 fourth1 first1 second1 third1    
fourth1 c4 ,when she wishes the ridges  
to trend in the contrary direction she  
opens the sheds in the inverse order4 ,i
 found it convenient to take my         
illustrations of this mode of weaving   
from a girth4 ,in ,figs4 #dd and #df the
 mechanism is plainly shown4 ,the lowest
 7first7 shed is opened and the first   
set of healds drawn forward4 ,the rings 
of the girth take the place of the beams
 of the loom4  ,there is a variety of   

diagonal weaving practiced by the       
,navajos which produces diamond figures2
 for this the mechanism is the same as  
that just described1 except that the    
healds are arranged differently on the  
warp4 ,the following diagram will       
explain this arrangement4               
,illustration3 ,,fig4 #dg4--;,diagram   
showing arrangement of helds in diagonal
 weaving4  ,to make the most approved   
series of diamonds the sheds are opened 
twice in the direct order 7i4e41 from   
below upwards7 and twice in the inverse 
order1 thus3 ,first1 second1 third1     
fourth1 first1 second1 third1 fourth1   
third1 second1 first1 fourth1 third1    
second1 first1 fourth1 and so on4 ,if   
this order is departed from the figures 
become irregular4 ,if the weaver        
continues more than twice consecutively 
in either order1 a row of ,v-shaped     
figures is formed1 thus3 ,,vvvv4 ,plate 
,,xxxv represents a woman weaving a     
blanket of this pattern1 and ,fig4 #dh  
shows a portion of a blanket which is   

part plain diagonal and part diamond4   
,illustration3 ,,fig4 #dh4--;,diagonal  
cloth4  ,sec4 ,,viii4 ,i have heretofore
 spoken of the ,navajo weavers always as
 of the feminine gender because the     
large majority of them are women4 ,there
 are1 however1 a few men who practice   
the textile art1 and among them are to  
found the best artisans in the tribe4   
,illustration3 ,,pl4 ,,xxxvi4--,,navajo 
,,woman ,,weaving ,a ,,belt4  ,sec4     
,,ix4 ,navajo blankets represent a wide 
range in quality and finish and an      
endless variety in design1              
notwithstanding that all their figures  
consist of straight lines and angles1 no
 curves being used4 ,as illustrating the
 great fertility of this people in      
design ,i have to relate that in the    
finer blankets of intricate pattern out 
of thousands which ,i have examined1 ,i 
do not remember to have ever seen two   
exactly alike4 ,among the coarse striped
 blankets there is great uniformity4    
,illustration3 ,,fig4 #di4--,navajo     

blanket of the finest quality4  ,the    
accompanying pictures of blankets       
represent some in my private collection4
 ,fig4 #di depicts a blanket measuring  
#f feet #i inches by #e feet #f inches1 
and weighing nearly #f pounds4 ,it is   
made entirely of ,germantown yarn in    
seven strongly contrasting colors1 and  
is the work of a man who is generally   
conceded to be the best weaver in the   
tribe4 ,a month was spent in its        
manufacture4 ,its figures are mostly in 
serrated stripes1 which are the most    
difficult to execute with regularity4 ,i
 have heard that the man who wove this  
often draws his designs on sand before  
he begins to work them on the loom4     
,fig4 #ej a shows a blanket of more     
antique design and material4 ,it is #f  
feet #f inches by #e feet #c inches1 and
 is made of native yarn and bayeta4 ,its
 colors are black1 white1 dark-blue1 red
 7bayeta7 and--in a portion of the      
stair-like figures--a pale blue4 ,fig4  
#ej b depicts a tufted blanket or rug1  

of a kind not common1 having much the   
appearance of an ,oriental rug2 it is   
made of shredded red flannel1 with a few
 simple figures in yellow1 dark blue1   
and green4 ,fig4 #ea represents a gaudy 
blanket of smaller size 7#e feet #d     
inches by #c feet #g inches7 worn by a  
woman4 ,its colors are yellow1 green1   
dark blue1 gray1 and red1 all but the   
latter color being in native yarn4      
,figs4 #eb and #ec illustrate small or  
half-size blankets made for children's  
wear4 ,such articles are often used for 
saddle blankets 7although the           
saddle-cloth is usually of coarser      
material7 and are in great demand among 
the ,americans for rugs4 ,fig4 #ec has a
 regular border of uniform device all   
the way around--a very rare thing in    
,navajo blankets4 ,figs4 #ed and #ee    
show portions of coarse blankets made   
more for use use than ornament4 ,fig4   
#ee is made of loosely-twilled yarn1 and
 is very warm but not water-proof4 ,such
 blankets make excellent bedding for    

troops in the field4 ,fig4 #ed is a     
water-proof serape of well-twilled      
native wool4  ,illustration3 ,,fig4     
#ej4--,navajo blankets4  ,illustration3 
,,fig4 #ea4--,navajo blanket4           
,illustration3 ,,fig4 #eb4--,navajo     
blanket4  ,illustration3 ,,fig4         
#ec4--,navajo blanket4  ,illustration3  
,,fig4 #ed4--,part of ,navajo blanket4  
,illustration3 ,,fig4 #ee4--,part of    
,navajo blanket4  ,the aboriginal       
woman's dress is made of two small      
blankets1 equal in size and similar in  
design1 sewed together at the sides1    
with apertures left for the arms and no 
sleeves4 ,it is invariably woven in     
black or dark-blue native wool with a   
broad variegated stripe in red imported 
yarn or red bayeta at each end1 the     
designs being of countless variety4     
,plates ,,xxxiv and ,,xxxv represent    
women wearing such dresses4             
,illustration3 ,,fig4 #ef4--;,diagram   
showing formation of warp of sash4      
,illustration3 ,,pl4 ,,xxxvii4--,,zuni  

,,woman ,,weaving ,a ,,belt4  ,sec4 ,x4 
,their way of weaving long ribbon-like  
articles1 such as sashes or belts1      
garters1 and hair-bands1 which we will  
next consider1 presents many interesting
 variations from1 the method pursued in 
making blankets4 ,to form1 a sash the   
weaver proceeds as follows3 ,she drives 
into the ground four sticks and on them 
she winds her warp as a continuous      
string 7however1 as the warp usually    
consists of threads of three different  
colors it is not always one continuous  
string7 from1 below upwards in such a   
way as to secure two sheds1 as shown in 
the diagram1 ,fig4 #ef4  ,illustration3 
,,fig4 #eg4--,section of ,navajo belt4  
,illustration3 ,,fig4 #eh4--,wooden     
heald of the ,zunis4  ,every turn of the
 warp passes over the sticks a1 and b2  
but it is alternate turns that pass over
 c and d4 ,when the warp is laid she    
ties a string around the intersection of
 the sheds at e1 so as to keep the sheds
 separate while she is mounting the warp

 on the beams4 ,she then places the     
upper beam of the loom in the place of  
the stick b and the lower beam in the   
place of the stick a4 ,sometimes the    
upper and lower beams are secured to the
 two side rails forming a frame such as 
the warp of a blanket is wound on 7,sec4
 ,,iv71 but more commonly the loom is   
arranged in the manner shown in ,plate  
,,xxxvi2 that is1 the upper beam is     
secured to a rafter1 post1 or tree1     
while to the lower beam is attached a   
loop of rope that passes under the      
thighs of the weaver1 and the warp is   
rendered tense by her weight4 ,next1 the
 upper shed is supplied with a shed-rod1
 and the lower shed with a set of       
healds4 ,then the stick at f 7upper     
stick in ,plate ,,xxxvi7 is put in2 this
 is simply a round stick1 about which   
one loop of each thread of the warp is  
thrown4 7,although the warp may consist 
of only one thread ,i must now speak of 
each turn as a separate thread47 ,its   
use is to keep the different threads in 

place and prevent them from crossing and
 straggling2 for it must be remembered  
that the warp in this case is not       
secured at two points between three     
stranded cords as is the blanket warp4  
,when this is all ready the insertion of
 the weft begins4 ,the reed-fork is     
rarely needed and the batten used is    
much shorter than that employed in      
making blankets4 ,fig4 #eg represents a 
section of a belt4 ,it will be seen that
 the center is ornamented with peculiar 
raised figures2 these are made by       
inserting a slender stick into the warp1
 so as to hold up certain of the threads
 while the weft is passed twice or      
oftener underneath them4 ,it is         
practically a variety of damask or      
two-ply weaving2 the figures on the     
opposite side of the belt being         
different4 ,there is a limited variety  
of these figures4 ,i think ,i have seen 
about a dozen different kinds4 ,the     
experienced weaver is so well acquainted
 with the count or arrangements of the  

raised threads appropriate to each      
pattern that she goes on inserting and  
withdrawing the slender stick referred  
to without a moment's hesitation1 making
 the web at the rate of #aj or #ab      
inches an hour4 ,when the web has grown 
to the point at which she cannot weave  
it further without bringing the unfilled
 warp nearer to her1 she is not obliged 
to resort to the clumsy method used with
 blankets4 ,she merely seizes the       
anterior layer of the warp and pulls it 
down towards her2 for the warp is not   
attached to the beams1 but is movable on
 them2 in other words1 while still on   
the loom the belt is endless4 ,when all 
the warp has been filled except about   
one foot1 the weaving is completed2 for 
then the unfilled warp is cut in the    
center and becomes the terminal fringes 
of the now finished belt4  ,the only    
marked difference that ,i have observed 
between the mechanical appliances of the
 ,navajo weaver and those of her ,pueblo
 neighbor is to be seen in the belt     

loom4 ,the ,zuni woman lays out her     
warp1 not as a continuous thread around 
two beams1 but as several disunited     
threads4 ,she attaches one end of these 
to a fixed object1 usually a rafter in  
her dwelling1 and the other to the belt 
she wears around her body4 ,she has a   
set of wooden healds by which she       
actuates the alternate threads of the   
warp4 ,instead of using the slender     
stick of the ,navajos to elevate the    
threads of the warp in forming her      
figures1 she lifts these threads with   
her fingers4 ,this is an easy matter    
with her style of loom2 but it would be 
a very difficult task with that of the  
,navajos4 ,plate ,,xxxvii represents a  
,zuni woman weaving a belt4 ,the wooden 
healds are shown1 and again1 enlarged1  
in ,fig4 #eh4 ,the ,zuni women weave all
 their long1 narrow webs according to   
the same system2 but ,mr4 ,bandelier has
 informed me that the ,indians of the   
,pueblo of ,cochiti make the narrow     
garters and hair-bands after the manner 

of the ,zunis1 and the broad belts after
 the manner of the ,navajos4            
,illustration3 ,,pl4                    
,,xxxviii4--,,bringing ,,down ,,the     
,,batten4  ,illustration3 ,,fig4        
#ei4--;,girl weaving 7from an ,aztec    
picture74  ,sec4 ,,xi4 ,i will close by 
inviting the reader to compare ,plate   
,,xxxvi and ,fig4 #ei4 ,the former shows
 a ,navajo woman weaving a belt2 the    
latter a girl of ancient ,mexico weaving
 a web of some other description4 ,the  
one is from a photograph1 taken from    
life2 the other ,i have copied from     
,tylor's ,anthropology 7p4 #bdh72 but it
 appears earlier in the copy of ,codex  
,vaticana in ,lord ,kingsborough's      
,antiquities of ,mexico4 ,the way in    
which the warp is held down and made    
tense1 by a rope or band secured to the 
lower beam and sat upon by the weaver1  
is the same in both cases4 ,and it seems
 that the artist who drew the original  
rude sketch1 sought to represent the    
girl1 not as working the cross-thread of

 the woof in and out on a stick1 but as 
manipulating the reed-fork with one hand
 and grasping the heald-rod and shed-rod
 in the other4    ,,note4--,the         
engravings were prepared while the      
author was in ,new   ,mexico and could  
not be submitted for his inspection     
until the   paper was ready for the     
press4 ,some alterations were made from 
the   original pictures4 ,the following 
are the most important to be   noted3   
,in ,plate ,,xxxviii the batten should  
appear held   horizontally1 not         
obliquely4 ,fig4 #e is reduced and      
cannot fairly   delineate the gradations
 in color and regular sharp outlines of 
the finely-serrated figures4 ,fig4 #ec  
does not convey the fact that   the     
stripes are of uniform width and all the
 right-angles   accurately made4        
99       99       99       99       99  
,,index     ,blankets1 ,navajo #chj-chh 
,codex1 ,the ,vatican2 ,illustrating    
,mexican weaving #cia   ,colors prepared
 for ,navajo fabrics #cgf   ,cotton     

woven in ,pueblos1 ,native #cge         
,dyeing among ,navajoes #cgg   ,dyes    
used by ,navajoes #cgg    ,fabrics2     
,prehistoric textiles of the ,united    
,states #cic-dbe    ,healds of ,navajo  
loom #cgh     ,mode of applying the     
#chj1 #chd     ,zuni #chi    ,looms1    
,navajo #cgg    ,mathews1 ,dr4 ,w41     
,navajo weavers #cga-cia    ,navajo     
blankets1 ,varieties of #che-chh        
,mode of weaving #chc     diagonal #chc 
diamond #chd     dyeing #cgg     dyes   
#cgf     healds in loom used #chj       
looms #cgg     position in weaving #chj 
warp of blankets #cgh-cgi     sash #chh 
weavers #cga-cia     wool #cge          
,taylor1 ,e4,b41 ,anthropology cited    
#cia    ,warp1 ,construction of ,navajo 
blanket #cgh   ,warp1 ,construction of  
,navajo sash #chh   ,weavers1 ,navajo1  
by ,dr4 ,washington ,mathews #cga-cia   
,weaving1 ,navajo position in #chj      
wool by ,navajoes #cge    ,zuni1 healds 
#chi         99       99       99       
99       99