The Grand Canyon of Arizona [62]
These have not been made for many years past and most of the specimens in perfect state of preservation that are in existence were obtained from Mexican families where they had been handed down from generation to generation as heirlooms. Often in these old specimens the red figures were made of bayeta. As Mason says: "The word 'bayeta' is nothing but the simple Spanish for the English 'baize' and is spelled 'bayeta' and not 'ballets' or 'valets.'" Formerly bayeta was a regular article of commerce. It was generally sold by the rod and not by the pound. Now, however, the duty is so high that its importation is practically prohibited.
This bayeta or baize was unravelled and the Indian woman often retwisted the warp to make it firmer. She then rewove it into her incomparable blankets.
From the earliest days the Navahos have been expert dyers, their colors being black, brick-red, russet, blue, yellow, and a greenish yellow akin to an old gold shade.
There is abundant evidence that they formerly had a blue dye, but indigo, originally introduced probably by the Mexicans, has superceded this. If in former days they had a native blue or yellow they must of necessity have had a green. They now make green of their native yellow and indigo, the latter being the only imported dye stuff in use among them.
To make the black dye three ingredients were used: yellow ochre, pinion gum and the leaves and twigs of the aromatic sumac (thus aromatics). The ochre is pulverized and roasted until it becomes a light brown, when it is removed from the fire and mixed with an equal quantity of pinion gum. This mixture is then placed on the fire and as the roasting continues it first becomes mushy, then darker as it dries until nothing but a fine black powder remains. This powder is called "keyh-batch." In the meantime the sumac leaves and twigs are being boiled. Five or six hours are required to fully extract the juices. When both are cooled they are mixed and immediately a rich, bluish-black fluid called "ele-gee-batch" is formed.
For yellow dye the tops of a flowering weed (Bigelovia graveolens) are boiled for hours until the liquid assumes a deep yellow color. As soon as the extraction of color juices is complete the dyer takes some native alum (almogen) and heats it over the fire. When it becomes pasty she generally adds it to the boiling concoction, which slowly becomes of the required yellow color,--"kayel-soly-batch."
The brick red dye, "says-tozzie-batch," is extracted from the bark and the roots of the sumac, and ground alder bark, with the ashes of the juniper as a mordant. She now immerses the wool and allows it to remain in the dye for half an hour or an hour.
Whence come the designs incorporated by these simple weavers into their blankets, sashes and dresses? In this as in basketry and pottery, the answer is found in nature. Many of their textile designs suggest a derivation from basketry ornamentation, which originally came from nature. The angular, curveless figures of interlying plaits predominate and the principal subjects are the same--conventional devices representing clouds, stars, lightning, the rainbow, and emblems of the deities. These simple forms are produced in endless combination and often in brilliant, kaleidoscopic grouping, sometimes representing broad effects of scarlet, black, green, yellow, and blue upon scarlet, and the wide ranges of color skilfully blended upon a ground of white. The centre of the fabric is frequently occupied with tessellated or lozenge patterns of multicolored sides; or divided into panels of contrasting colors, in which different designs appear. Some display symmetric zigzags, converging and spreading throughout their length. In others bands of high color are defined by zones of neutral tints, or parted by thin, bright lines into a checkered mosaic. In many only the most subdued shades appear. Fine effects are obtained by using a short gray wool in its natural state, to form the body of the fabric in solid color, upon which figures in black, white and red are introduced. Sometimes
This bayeta or baize was unravelled and the Indian woman often retwisted the warp to make it firmer. She then rewove it into her incomparable blankets.
From the earliest days the Navahos have been expert dyers, their colors being black, brick-red, russet, blue, yellow, and a greenish yellow akin to an old gold shade.
There is abundant evidence that they formerly had a blue dye, but indigo, originally introduced probably by the Mexicans, has superceded this. If in former days they had a native blue or yellow they must of necessity have had a green. They now make green of their native yellow and indigo, the latter being the only imported dye stuff in use among them.
To make the black dye three ingredients were used: yellow ochre, pinion gum and the leaves and twigs of the aromatic sumac (thus aromatics). The ochre is pulverized and roasted until it becomes a light brown, when it is removed from the fire and mixed with an equal quantity of pinion gum. This mixture is then placed on the fire and as the roasting continues it first becomes mushy, then darker as it dries until nothing but a fine black powder remains. This powder is called "keyh-batch." In the meantime the sumac leaves and twigs are being boiled. Five or six hours are required to fully extract the juices. When both are cooled they are mixed and immediately a rich, bluish-black fluid called "ele-gee-batch" is formed.
For yellow dye the tops of a flowering weed (Bigelovia graveolens) are boiled for hours until the liquid assumes a deep yellow color. As soon as the extraction of color juices is complete the dyer takes some native alum (almogen) and heats it over the fire. When it becomes pasty she generally adds it to the boiling concoction, which slowly becomes of the required yellow color,--"kayel-soly-batch."
The brick red dye, "says-tozzie-batch," is extracted from the bark and the roots of the sumac, and ground alder bark, with the ashes of the juniper as a mordant. She now immerses the wool and allows it to remain in the dye for half an hour or an hour.
Whence come the designs incorporated by these simple weavers into their blankets, sashes and dresses? In this as in basketry and pottery, the answer is found in nature. Many of their textile designs suggest a derivation from basketry ornamentation, which originally came from nature. The angular, curveless figures of interlying plaits predominate and the principal subjects are the same--conventional devices representing clouds, stars, lightning, the rainbow, and emblems of the deities. These simple forms are produced in endless combination and often in brilliant, kaleidoscopic grouping, sometimes representing broad effects of scarlet, black, green, yellow, and blue upon scarlet, and the wide ranges of color skilfully blended upon a ground of white. The centre of the fabric is frequently occupied with tessellated or lozenge patterns of multicolored sides; or divided into panels of contrasting colors, in which different designs appear. Some display symmetric zigzags, converging and spreading throughout their length. In others bands of high color are defined by zones of neutral tints, or parted by thin, bright lines into a checkered mosaic. In many only the most subdued shades appear. Fine effects are obtained by using a short gray wool in its natural state, to form the body of the fabric in solid color, upon which figures in black, white and red are introduced. Sometimes