The Grand Canyon of Arizona [54]
here, where you stand, you are protected and sheltered.
Diversity of Color. Perhaps the greatest difference between the rim and the interior of the Canyon is found in the diversity in color and feature between them. While there is a fascination to the long, wide stretches of plateau on the rim, and the forest has its attractive points, there are not many prominent features (looking away from the Canyon) that would occupy the attention of travellers. There is little striking in color, in scenery, in rocky contour. Plains, trees, sky, clouds, sunset,--and nearly all is said. But immediately one stands on the rim and looks below, all is changed. Here is feature after feature that compels not only attention but reverent homage. Color such as is seen nowhere else in the world on such a grand scale; massive walls that have no counterpart; rock forms that dazzle and bewilder; and an unfoldment of the stone book of creation that is alike a joy and a pain, a delight and a sorrow, a something seen at a glance, and that requires a lifetime to comprehend.
CHAPTER XV. The Hopi House
The Harvey Collection at El Tovar. In the Hopi House, opposite the El Tovar entrance, is installed one of the most interesting Indian collections of the world,--a collection that would grace the National Museum of Great Britain, France or Germany. The more intelligent the visitor to the Grand Canyon, the more he will find he can learn in this wonderful storehouse provided for his instruction and recreation.
The Hopi House. The building itself is a perfect model of a block in the village of Oraibi, one of the seven Hopi pueblos. It is three stories high, and contains many rooms. The original is supposed to accommodate forty-five families. It is built of the chips of sandstone and other rock in accordance with Hopi custom, rudely and irregularly laid in mortar. It is of the terraced style of architecture, each story receding from the one below it, so that the "second story front" finds a ready courtyard on the roof of the "first story front," and the "third story front" on that of the "second story front."
Houses that were Forts. In the old houses, found when the white man first visited the pueblos, there was no means of entrance to the first stories save by means of the ladders which stood outside against the walls, and thence through hatchways made in the roofs. This was for the purpose of defence against hostile tribes, who were constantly warring with these home-loving Indians in order that they might steal from them the fruits of their persistent labor and thrift. The ladder, during times of expected attack, could be lifted upon the second story, out of reach, and thus these houses became the forts of their inhabitants. Nowadays entrances are provided on the ground floor, and this house at El Tovar follows the modern custom, as well as the later innovation (which of course is essential in this building) of using glass for windows. For convenience and safety, another anachronism is tolerated in the electric light. In practically everything else, the building is a true model of a Hopi community house. With these people, the women are generally and mainly the builders of the houses, the men merely assisting in the heavier work.
Quaint Stairways. In addition to the quaint ladders, quainter steps, cut into flat or round trunks of cottonwood trees, are used. Stone steps connecting the two upper stories, are also built outside in the partition walls. The chimneys are constructed, in true pueblo fashion, of pottery water ollas, the bottoms of which have been broken out. Three or more of these, fastened with cement or mortar, are placed one above another. On the roofs are wood piles, as at Oraibi, and also picturesque strings of red peppers drying in the sun.
Navaho Silversmith. The entrance doorway is low, and the steps lead one down into the first room, in true Oraibi style. This room is occupied by the Tinne peshlikai, or Navaho silversmith, and Navaho blanket weavers. The smith, though using some modern tools, still follows the time-honored
Diversity of Color. Perhaps the greatest difference between the rim and the interior of the Canyon is found in the diversity in color and feature between them. While there is a fascination to the long, wide stretches of plateau on the rim, and the forest has its attractive points, there are not many prominent features (looking away from the Canyon) that would occupy the attention of travellers. There is little striking in color, in scenery, in rocky contour. Plains, trees, sky, clouds, sunset,--and nearly all is said. But immediately one stands on the rim and looks below, all is changed. Here is feature after feature that compels not only attention but reverent homage. Color such as is seen nowhere else in the world on such a grand scale; massive walls that have no counterpart; rock forms that dazzle and bewilder; and an unfoldment of the stone book of creation that is alike a joy and a pain, a delight and a sorrow, a something seen at a glance, and that requires a lifetime to comprehend.
CHAPTER XV. The Hopi House
The Harvey Collection at El Tovar. In the Hopi House, opposite the El Tovar entrance, is installed one of the most interesting Indian collections of the world,--a collection that would grace the National Museum of Great Britain, France or Germany. The more intelligent the visitor to the Grand Canyon, the more he will find he can learn in this wonderful storehouse provided for his instruction and recreation.
The Hopi House. The building itself is a perfect model of a block in the village of Oraibi, one of the seven Hopi pueblos. It is three stories high, and contains many rooms. The original is supposed to accommodate forty-five families. It is built of the chips of sandstone and other rock in accordance with Hopi custom, rudely and irregularly laid in mortar. It is of the terraced style of architecture, each story receding from the one below it, so that the "second story front" finds a ready courtyard on the roof of the "first story front," and the "third story front" on that of the "second story front."
Houses that were Forts. In the old houses, found when the white man first visited the pueblos, there was no means of entrance to the first stories save by means of the ladders which stood outside against the walls, and thence through hatchways made in the roofs. This was for the purpose of defence against hostile tribes, who were constantly warring with these home-loving Indians in order that they might steal from them the fruits of their persistent labor and thrift. The ladder, during times of expected attack, could be lifted upon the second story, out of reach, and thus these houses became the forts of their inhabitants. Nowadays entrances are provided on the ground floor, and this house at El Tovar follows the modern custom, as well as the later innovation (which of course is essential in this building) of using glass for windows. For convenience and safety, another anachronism is tolerated in the electric light. In practically everything else, the building is a true model of a Hopi community house. With these people, the women are generally and mainly the builders of the houses, the men merely assisting in the heavier work.
Quaint Stairways. In addition to the quaint ladders, quainter steps, cut into flat or round trunks of cottonwood trees, are used. Stone steps connecting the two upper stories, are also built outside in the partition walls. The chimneys are constructed, in true pueblo fashion, of pottery water ollas, the bottoms of which have been broken out. Three or more of these, fastened with cement or mortar, are placed one above another. On the roofs are wood piles, as at Oraibi, and also picturesque strings of red peppers drying in the sun.
Navaho Silversmith. The entrance doorway is low, and the steps lead one down into the first room, in true Oraibi style. This room is occupied by the Tinne peshlikai, or Navaho silversmith, and Navaho blanket weavers. The smith, though using some modern tools, still follows the time-honored