In every house you will find, in a corner, a row of two, three, or four square boxlike compartments or bins of thin slabs of sandstone set on edge. Each bin contains a metate set at an angle with its lower edge slightly below the level of the floor. There is a clear space around each stone to permit of a better disposition of the corn and meal. The texture of the metates is graduated from the first to the last, the final one being capable of grinding the finest meal. Accompanying the metate is a crushing or grinding stone about a foot in length and from three to four inches wide. Its under surface is flat, while its upper surface is convex to a slight extent, so as to permit of its being grasped firmly by the thumb and fingers of both hands. The corn is ground between these two stones, the upper one being worked up and down the metate by a motion of the operator not unlike that of a woman washing clothes on a washboard. The favorite position assumed by the woman while working is to sit on her knees, her toes resting against the wall of the house behind her. Of the many colors of corn used by the Hopis, blue is the most common, and corn of this color is ordinarily employed in the making of bread; other colors, however, are used for the piki consumed in ceremonial feasts.
The stone used by the Oraibians for making piki is from a sandstone quarry near Burro Springs. It is about twenty inches long by fourteen broad, and is three inches thick. The upper surface is first dressed by means of stone picks, and is polished by a hard rubbing-stone, and then finally treated with pitch and other ingredients until its surface is as smooth as glass. It is mounted on its two long edges by upright slabs, so that it stands about ten inches from the level of the floor, the floor itself being usually excavated to a depth of two or three inches beneath the stone. At a height of about four feet above this primitive griddle is a large rectangular hood which is extended above the roof in the form of a chimney made of bottomless pots, one resting on the other. Kneeling in front of the stone and supporting her body with her left arm, the woman coats the stone with the thin batter of corn and water with the fingers of her right hand. After a few seconds' time she lifts the waferlike sheet from the stone and transfers it to a mat which is made for this special purpose. For some time the piki remains soft and pliable, and while in this condition she rolls or folds the sheets according to her custom – some folding, others rolling it. It is a curious sight on the feast days of certain ceremonies to see women gathering from all quarters of the village at an appointed house, each carrying a tray heaped high with rolls of this paper bread.
The Hopis are among the foremost potters in North America, when we take into consideration the fineness of the clays used and the character of the decoration. But in many respects, especially in form, their ware is much inferior to that of the ancient Mexicans and Peruvians. They make pottery to-day as they did hundreds of years ago, but the quality of the work has greatly deteriorated and the earthenware now produced is not to be compared with that found in near-by Hopi ruins. It should be kept in mind, however, that the specimens found in the ancient graves are to a certain extent ceremonial, and consequently better made and more ornate in their decoration than those which were made simply for household purposes. Still, there are a fineness of texture and a delicacy of coloring in the ancient ware which can not now be produced. It is to be noted, also, that the Hopi woman of to-day can not decipher the designs on the earlier pottery, although she often copies them. The demand for earthenware vessels, however, is nearly as great at present as it was in prehistoric days, for you may search the homes of Oraibi for a long time without finding a tin pan or an iron pot. Thus it is that every Hopi woman must be a worker in clay, and one of the occasional sights is that of a woman on her "front porch" surrounded by vessels of all sizes and in varying degrees of completeness. The process of pottery-making is somewhat as follows: After the clay has been worked into a plastic mass she draws out from it a round strip the size of one's finger and about five inches in length. This is coiled flat in the bottom of the tray, and forms the base of the vessel. Other clay strips are kneaded out of the mass, and these are coiled in a gradually increasing spiral, the desired shape and proportion being acquired at the same time, until the vessel has reached its proper height. The sides of the vessel are then thinned down, and both inside and outside are made smooth by means of small bits of gourds and polishing-stones. The vessel is then ready for a coat of wash, after which it is painted and fired. This method of making pottery is not peculiar to the pueblos, but is found among some of the tribes of South America.
The art of basketry was never brought to a high state among the Hopis, for they confine themselves chiefly to the manufacture of large shallow trays and rough baskets made of the long, pliable leaves of the yucca or of some other fiber. These answer all ordinary domestic requirements. From the reddish-brown branches of a willowlike bush which grows near, the Hopi mother interweaves a cradle board for her children. This cradle is peculiar in its shape, and especially so in its construction, and differs greatly from that in use among the plains Indians. Another singular point to be noted is the fact that this cradle board is not often strapped to the back, but is usually in the arms, or, more often still, is placed on the floor by the side of the mother as she works. The Oraibi mesa, like other table-lands of Tusayan, is destitute of water. The nearest spring is in the valley at the foot of the mesa nearly a mile away. From before sunrise to ten o'clock of every day there is an almost unbroken line of water carriers going and coming from the spring, bending under the weight of a large jar which they carry on their back by means of a blanket, the ends of which are tied in a knot on their forehead. No wonder these women grow prematurely old. Winter for them, however, has its advantages, for they have an ingenious way of utilizing the snow to save them from the necessity of going down the mesa for water. One of the most extraordinary sights I saw was that of a Hopi woman and her little girl trudging along, each bent almost to the ground under the weight of an immense snowball. These they were carrying home on their backs, enveloped in a blanket. About half a mile from the pueblo, back on the mesa, reservoirs have been scooped out in the soft sandstone, which are often partially filled by the spring rains, but the water soon becomes brackish and is not potable, but is used for washing clothes.
The costume of the woman consists ordinarily of four pieces – a blanket, dress, belt, and moccasins. The blanket is of wool, and is about four feet square. It is blue in color, with a black border on two sides. These two edges are usually bound with a heavy green or yellow woolen thread. To make the dress, this blanket is once folded and is sewn together with red yarn at the long side, except for a space sufficiently large to accommodate one arm. The folded upper border is also sewn for a short space, which rests on one of the shoulders. The other shoulder and both arms are bare, except as they may be partially covered by the blanket. The belt or sash is of black and green stripes, with a red center, ornamented with geometric designs in black; it is about four inches wide, and is long enough to permit of being wound around the waist two or three times. The moccasins are of unpainted buckskin, one side of the top of which terminates in a long, broad strip, which is wound round the leg several times and extends up to the knee, thus forming a thick legging. More than half the time the Hopi woman is barefooted. The girls wear silver earrings, or suspend from the lobe of the ear small rectangular bits of wood, one side of which is covered with a mosaic of turquoise. This custom is of some antiquity, as ear pendants exactly similar to these have been found in the Hopi ruins of Homolobi, on the Little Colorado River.
In addition to this regulation costume, worn on all ordinary occasions, each Hopi woman is supposed to own a bridal costume and two special blankets, which are worn only in ceremonies, and hence need not here be described. The bridal costume consists of a pair of moccasins, two pure white cotton blankets, one large and the other small, both having large tassels of yellow and the black yarn at each corner, and a long, broad, white sash, each end of which terminates in a fringe of balls and long thread. All three garments, before being used, are covered with a thick coat of kaolin, so that they are quite stiff. With these garments belongs a reed mat sufficiently large to envelop the small blanket and the sash.
So far as I am able to learn, the three pieces of this remarkable costume are never worn except on a single occasion, and at only one other time does the bride formally appear in any of them. About a month after the marriage ceremony has been performed, during which time she has been living with the family of her husband, she completes the marriage ceremony by returning to the house of her mother. This is termed "going