Page 84 - TheHopiIndians

76 MESA POLK OP HOPILAND

Nampeo is a remarkable woman. No feeling of her
racial inferiority arises even on the first meeting with
this Indian woman, bare-foot, bonnetless, and clad in
her quaint costume. For Nampeo is an artist-potter,
the sole survivor in Hano of the generations of women
artists who have deposited the product of their handi
craft in the care of the dead.
In the household her aged father and mother are
final authority on the interpretation of ancient sym
bolic or cult representations in art. Nampeo likewise
carefully copies on paper the decorations of all avail
able ancient pottery for future use. Her archeologi-
cal methods are further shown by her quest for the
clays used by those excellent potters of old Sikyatki
and by her emulation of their technique.
One noon under the burning August sun, Doctor
Fewkes and the writer climbed the East Mesa, the
former to attend the Flute Ceremony at Walpi and the
latter with an appointment to pry into the secrets of
Nampeo, the potter. In the house, pleasantly cool
and shaded, sat the old couple and Lesu. The baby
was being secured to its board for its afternoon nap,
while Lesu spun. It was a pleasure to examine the
quaint surroundings and the curious belongings hung
on the wall or thrust above the great ceiling beams, —
strings of dried wiwa, that early spring plant which
has before now tided the Peaceful People over famine,
gaily painted dolls, blankets, arrows, feathers, and
other objects enough to stock a museum. Lesu did the