| By Author | [ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z | Other Symbols ] |
| By Title | [ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z | Other Symbols ] |
| By Language |
|
Download this book: [ ASCII ] Look for this book on Amazon Tweet |
Title: Kachina Dolls - Milwaukee Public Museum Popular Science Handbook Series #7, Sept. 1957
Author: Hunt, Walter Bernard
Language: English
As this book started as an ASCII text book there are no pictures available.
*** Start of this LibraryBlog Digital Book "Kachina Dolls - Milwaukee Public Museum Popular Science Handbook Series #7, Sept. 1957" ***
[Illustration: KACHINA DOLLS]
KACHINA DOLLS
BY
W. BEN HUNT
MILWAUKEE PUBLIC MUSEUM
POPULAR SCIENCE HANDBOOK SERIES NO. 7 SEPTEMBER 1957
PUBLISHED BY ORDER OF THE BOARD OF TRUSTEES
©1953 MILWAUKEE PUBLIC MUSEUM
PREFACE
by ROBERT E. RITZENTHALER
Curator of Anthropology
[Illustration: {uncaptioned}]
On the sentinel-like mesas in the semi-desert land of northeastern
Arizona dwell some 3,500 of one of our most colorful Indian tribes of
today, the Hopi. Living in their traditional adobe, multi-storied
“apartment houses,” called “Pueblos,” they practice many of their old
ways and customs, and remain one of the tribes least affected by the
white man. Agriculturalists they were and agriculturalists they are,
filling the fields at the base of the mesas, raising corn, beans, and
squash, but above all, corn. In this area where land is good, but
moisture is all-important, the Hopi have developed a religion much
concerned with prayers and ceremonies to bring rain and good crops.
During the Snake Dance, for example, snakes are held in the mouths of
the dancers and then released into the desert as messengers to the gods
to inform them that the Hopi need rain.
Less widely known to the world than the Snake Dance, but very important
to the Hopi as a spiritual means of petitioning for rain, good weather,
bountiful crops, and other blessings, is the Kachina cult. The Hopi
believe that the Kachinas are a band of supernatural beings who live in
the nearby mountains and pay visits to the villages at intervals during
the first half of each year. At these times the men don the masks and
costumes representing particular Kachinas, and perform dances and
ceremonies in their honor. By wearing these costumes the men not only
physically impersonate the Kachinas, but also assume their spirits. The
dances and ceremonies take place both in the underground chambers,
called kivas, where only men are allowed, and out on the village plazas
where all may watch. During the latter, the dancers follow the leader in
single file to the plaza where they line up facing east. The leader, at
the center, begins the singing to the rhythm of his rattle; then the
others join in, and the dancing begins. For the next song the dancers
face north, then west, after which they distribute gifts, usually a bow
and arrow for a boy and a Kachina doll for a girl. They then retire to a
secluded area to unmask, relax, and prepare for the next set of songs
and dances.
In some of the dances 30 or 40 men will be dressed alike; in others a
variety of Kachinas participate. Besides the serious dances there are
humorous ones put on by clowns, or “mudheads” as they are popularly
called. The mudheads are distinguished by their distinctive, mud-colored
masks and provoke much laughter with their impromptu pranks and
burlesquing of both Indian and white man, and even of the Kachina
dances.
While the term “Kachina” refers to the mythological beings, and to the
masked dancers who impersonate them, it is also used to refer to the
dolls, which are miniature but accurate reproductions of them. Kachina
dolls are made by the men to be given to the girls during the Kachina
ceremonies. Children eagerly await the Giver Kachina, the counterpart of
our Santa Claus, who wears a blue mask and carries a bundle of gifts on
his back. His arrival is announced by a herald stationed on a roof top.
He passes among the crowd distributing gifts to the children, such as
candy, bows and arrows, and the especially desired Kachina dolls. Each
girl receives at least one, and some may receive as many as a half
dozen. They are played with as dolls, often being carried about in
miniature cradles. They also, however, serve a useful purpose in
acquainting the Hopi children with the names, kinds, details of
costumes, and religious lore of the Kachinas. In a very real sense,
then, they are the educational toys of the Hopi. The dolls are never
worshipped and are not to be considered idols, but rather serve as
constant reminders of the Kachinas, especially during the summer and
fall when the Kachinas have returned to their mountain home. They are
handled and carried about the village by the girls, but for the most
part they will be seen hanging from the walls or rafters of the pueblo
rooms.
The dolls described in this booklet are but a few of the many types. Not
even the Hopi can tell you how many different Kachinas there are, but
their number has been estimated at 250. Only about 200 are in current
use, and these change with the years as new ones are added, and others
disappear from usage.
INTRODUCTION
[Illustration: {uncaptioned}]
Our Southwest is a veritable treasure chest of interesting things made
by clever Indian craftsmen. Here and there, at Indian trading posts or
Indian roadside stands along the way, among the rugs, sashes, pottery,
and silver and turquoise jewelry, you will find Kachina dolls. Not too
many. Up until a few years ago they were quite scarce in the trading
posts, but could be bought at the various Hopi pueblos, where the best
ones are made. While they were originally made for their little girls,
as stated in the preface, they produced even more of them when it was
discovered that tourists prized them. And like everything else, someone
saw a chance to earn a dollar and started to manufacture them. Some
years ago the Japanese even went so far as to make them of papier-mache.
Many of them are machined and given a quick coat of paint. But you can
still buy good Kachina dolls both on the mesas and at trading posts.
All in all the Hopi-made dolls are good, and usually when you find one a
bit worn, with a cord around its neck, you can figure that at one time
it adorned a pueblo wall. The Hopi Kachina makers take great pride in
their work. Their dolls are made out of cottonwood roots, which gives
them that sort of rough texture that is pleasing to the eye. Some of the
very old dolls have cloth and buckskin clothing to make them more
realistic, but for the most part they are made entirely of wood with the
exception of feathers and fluffs, as shown in the following pages.
As mentioned before, there are about 250 different Kachinas, but the
Hopi do not make that many different dolls. There are certain Kachinas
that lend themselves better to carved dolls, and it is with these that
we will deal.
Years ago, when starting out boys and girls in whittling, I made it a
practice to give them Kachina dolls to whittle, for various reasons. It
acquainted them with the feel of wood and the meaning of grain. It
taught them how to sharpen a knife, and how to use it. And best of all,
they whittled figures without having to worry about human faces, which
are the bugaboo of all whittling novices, and a lot of others, too.
This booklet will mainly show how Kachina dolls are whittled and
painted, and to what use they can be put. This is not an ethnological
thesis, but is written for the craft-minded who like to whittle, and who
like Kachina dolls. I do not imagine that anyone will make all of the
objects listed and described, but there may be one or more of them that
you will enjoy making.
The first thing you will need is a piece of wood. Since it would be
rather difficult to obtain cottonwood roots, our next best bet is a
piece of straight-grained soft wood. I have used sections of green,
knot-free basswood, willow, and poplar saplings or branches with good
results. A piece of wood about 1½ inches in diameter is of a proper size
to start out with. The green wood whittles easily and, due to the short
lengths and deep cuts, it is not likely to check. And of course it is
already round.
Also, white pine, sugar pine, and basswood can usually be bought at a
lumber yard or millwork shop. It should be cut in rectangular sections
and then rounded.
Then, of course, you will need a knife that holds an edge. A good
quality of pocket knife is best, and all the whittling I have ever done
has been with a small blade, from 1¼ to 1½ inches long. As the knife
comes from the store it is not sharp enough for whittling. So get a
small abrasive stone, and a piece of leather to strop it on, and sharpen
it until you cannot see the edge; as long as you can see a “white” line
or spot on the edge, your knife is not sharp. Thereafter, keep it sharp
at all times.
You will also need sandpaper to sand down the knife cuts in the wood.
Now for the part that worries most beginners: painting the dolls. If you
have a fairly steady hand, and use a good brush, this should not be too
much of a problem. I have often said that it a person can pare a potato
without wasting it, and can write fairly well, he or she can make a
Kachina doll.
We use water colors for painting. That is what the Hopi use, and water
colors are not so messy. While any good brand of water colors will do
the trick, you will have the best success with poster or show-card
colors. They are opaque and cover better than transparent water colors.
Although many of the old Kachina makers use brushes made out of yucca
leaf stems, chewed and trimmed to the sizes required, you can pick up a
couple or three small brushes that will do a better job. Sable-hair
brushes are best, but also more expensive.
Painting the dolls is not as difficult as one may think. Remember—you
don’t have to paint faces, and the masks are all more or less abstract
or symbolic in design. And furthermore you don’t have to do any shading
or blending. It is all flat work.
There are two methods of painting. Most of the old-time Kachina makers
give the entire doll a coat of white paint first, and the rest is
painted over that. But usually, with good poster colors to work with, it
is easier to lay out and paint each color directly on the bare wood. The
colors dry rather rapidly and, if used rather thick (not too much
water), they will not be apt to run or bleed where colors overlap. So
don’t let the painting stop you. I have seen cub scouts make some very
nice looking dolls.
The Indian does nothing to preserve the painted surface and the water
colors are apt to smudge and wear off. On the other hand, a glossy
surface on a doll looks awful, and is not in character. So we suggest
that you use a light spray coat or two of Krylon, or Spray-fix, or any
other crystal-clear spray, such as come in bomb cans. Krylon is a
crystal-clear plastic spray, and Spray-fix is a fixative (in a bomb can)
such as is used by artists to prevent smudging of pencil, charcoal, or
pastel drawings. But whatever you use to preserve the water color, it
should be “water white” and should not be sprayed on to impart a shiny
surface, except where stated otherwise in the following pages.
Naturally, questions arise as to where one can get ideas for more
difficult kinds of Kachina dolls, or Kachina costumes. Here are a couple
of good books which contain such information: Hopi Kachinas, by Edward
Kemrard; Ceremonial Costumes of the Pueblo Indians, by Virginia
Roediger.
Moreover, Kachina dolls are shown from time to time in Arizona Highways
Magazine and there are many crayon drawings of Kachinas, made by a Hopi
Indian, in the 1899-1900 Annual Report of the Bureau of American
Ethnology.
[Illustration: PALAH’IKO MANA]
[Illustration: HEMIS]
[Illustration: {uncaptioned}]
[Illustration: PAK IOKWICK]
[Illustration: MUDHEAD]
HOPI KACHINA DOLLS
[Illustration: {uncaptioned}]
The dolls shown {above} were carefully drawn from old specimens in the
collection in the Milwaukee Public Museum. Each one has a cord around
the neck with a loop at the back for hanging on a wall.
All the bodies were made from cottonwood roots. The tablets are of other
woods whittled thin. It is said that the Kachina doll makers, and also
the makers of the actual Kachina masks, pay the most attention as a rule
to the masks. While the rest of the costumes may vary, the masks usually
hold true to ancient traditional forms and designs.
These dolls will also acquaint the beginner with the different methods
of whittling, particularly the moccasins and arms. Colors also vary,
depending on what colors are on hand. Today many of the dolls are
painted with poster colors because they are easier to obtain than
formerly.
Most of these old dolls are slightly wider than they are thick, or shall
we say, slightly flattened from front to back. The Hemis Kachina is
shown here with a green background on the tablet, whereas recent books
show it to be blue: otherwise, the traditional characteristics are
preserved. Indians often confuse these two colors.
[Illustration: KEME]
[Illustration: CROW]
[Illustration: HOT’E]
HOPI KACHINA DOLLS
[Illustration: {uncaptioned}]
The {Keme} doll shown is an old one brought to me by a trader. It was in
rather poor condition. The paint was smeared and rubbed off in places.
By carefully matching the original colors, I went over the entire doll.
Note the feet. They are different from those of any of the five on the
preceding page.
The Crow Kachina is one that I selected for a lamp base. In the actual
costume there are real crow wings attached to the mask, but these dolls
are also made with wings of wood in several different styles.
The Hot’e Kachina is often used for doll designs, and here, too, some
dolls have small feathers attached to the mask, while others have wooden
symbolic feathers. Some Hoté dolls have a miniature concha belt made of
tin and a thin strip of black leather. The bow and rattle, of course,
are slipped respectively into a notch and a hole in the hands.
STYLES
[Illustration: Saw out slot for legs]
[Illustration: This is the simplest way of whittling Kachina dolls
from a round piece of wood. Mark as shown at left and cut out piece
between the feet and legs.]
[Illustration: Slot for legs. Dotted lines show how block is marked
with pencil.]
[Illustration: Ears and nose are set into mortices.
This is an old Indian method of whittling dolls. Note that the upper
body is quite flat, and that the head and skirt are oval in
cross-section.]
STYLES
[Illustration: ]
For the most part, Indians tend to make their doll bodies flat,
especially figures ten inches or more in height. About the only sawing
that is done is in cutting the space between the legs. For the beginner
we have shown two types, the round and the flat. The different sections
are marked as shown by dotted lines, and from there on in it is just a
case of whittling. Arms, as shown in the lower doll, are whittled out,
but occasionally they are whittled separately and tacked and glued on.
All other appendages, such as nose, mouth, eyes, ears, and tablets are
set into mortices cut to fit, and glued. While plastic cements dry
quickly, it is better to use a glue that water color will adhere to.
Regular hide glue or Elmer’s glue are fine. You will note that there are
a great many ways of whittling feet. That seems to be a matter of
choice.
Figures should be sandpapered, preferably with medium-grit sandpaper.
The finish can be made to look very much like the rough texture of
cottonwood root.
EAGLE KACHINA DOLLS
Most colors can be gotten from the cover.
[Illustration: Ruff of painted feathers.]
[Illustration: The tail is merely black-tipped eagle feathers like
the wings.]
[Illustration: Use a quick-drying glue rather than cement to fasten
parts together.]
[Illustration: The fox skin can be painted a reddish-buff. Sash is
made separate and glued on.]
EAGLE KACHINA DOLL
[Illustration: {uncaptioned}]
Dolls of this type are not found in many of the western trading posts,
and where you do find one it will have quite a price tacked to it.
To make this one, which is about eight inches high, you’ll need for the
body a soft wood block about 2½ by 3 by 8 inches in dimensions. By
enlarging with squares, the sizes of the various parts can be
ascertained. The wings should be of thin wood, preferably ³/₃₂ inch
thick. If a quick-drying glue is used, such as Elmer’s Glue-all, no
brads are required. I like to use glue rather than cement, because water
color paints will stick to places where glue appears, but will not stick
to cement.
These dolls are sometimes glued to a base of some sort, and so make
beautiful lamp bases. However, when used for that purpose, the doll is
not drilled for wiring. Instead a piece of ⅜-inch brass tubing is used,
bent as shown in the small sketch in the lower left-hand corner. Of
course, a suitable shade should be made, one with a Pueblo Indian
design.
COSTUME JEWELRY
[Illustration: EAR ORNAMENTS]
[Illustration: LAPEL PIN
half round
Safety-pin set in plastic wood]
[Illustration: TIE CLASP
half round
Set in plastic wood]
[Illustration: ZIPPER PULL
half round]
[Illustration: NECKLACE
Dolls for necklace are made round.
Use wood or glass pony beads.]
COSTUME JEWELRY
[Illustration: {uncaptioned}]
If you want to please a lady or a girl, make her some of these. They are
colorful, to say the least, and decorative.
The ear ornaments and the necklace are made of birch dowel rod, which is
easy to whittle in miniature. Plastic screw clamps can be bought at
almost any notion counter, and they are simply cemented onto the backs
of the dolls. Do not make them more than 1 inch high. The necklaces,
also rather unique, should be strung with wooden beads if possible to
reduce the weight.
For these pieces, several coats of clear nail polish are used, or clear
lacquer. Unlike the larger figures, they should have a good glossy
finish. Owing to the smallness of some of these figures, it is best to
whittle each on the end of a longer piece of dowel rod, and then cut it
off with a fine coping or jeweler’s saw (See drawing {above}). Then
cement on the clamp in order to have something to hold to while painting
it.
LAMPS
[Illustration: {uncaptioned}]
[Illustration: {uncaptioned}]
[Illustration: All drilling should be done before starting to
whittle. The hole in the doll should be slightly smaller than the
nipple. To insert nipple soak the wood around the hole with shellac
and screw the nipple in. It will cut its own thread in the wood and
the shellac will keep it from turning.]
[Illustration: Wall bracket wire is concealed in groove.]
[Illustration: Drill lead holes for screws.
Use a little glue.
It is much simpler to insert the cord before fastening the doll to
the base.]
LAMPS
[Illustration: {uncaptioned}]
I enjoy making lamps, and have made many Kachina doll lamps, each
different from the others—different dolls, different bases, and
different shades. The dolls should be made out of at least 2-inch wood.
A 2½-inch size is better, the over-all base and doll measuring about 9
inches in length. This is a good proportion.
In making bracket lamps, the doll can be set right on the bracket, as
shown at lower left, and the brackets can be painted to harmonize with
the doll, or stained or painted to match the woodwork of the house.
I have also made totem pole lamps on this same principle, using
Northwest Coast Indian designs on base and shade.
In making the drum base shown here, either of two methods may be used.
When I have a lot of time, I lace rawhide over the block and paint it.
Usually, however, I simply paint the circular base to resemble an Indian
tom-tom.
LAMP SHADES
Paper lamp shades are rather easy to make after you know how to go about
it. Of course a wire frame is required. These can sometimes be bought,
but as a rule a frame can be taken from a discarded shade of the proper
size. Only the top and bottom rings are required for the round shades.
[Illustration: Design taken from pottery.
Use a round shade with a round base.
This is the conventional shape. If you can not get a pattern from
the former covering, a new one can be easily laid out as follows:]
[Illustration: PROCEDURE]
1. Lay out and cut shade.
2. Draw outline with waterproof drawing ink and color with transparent
water color.
3. Glue ends together (be sure shade fits the ring).
4. Punch and lace.
5. Apply clear plastic spray.
Remember:
Diameter × pi (3.1416) gives you the circumference. Allow ½ inch for
gluing.
[Illustration: Punch holes about ¼ inch from edge and lace with
plastic or leather lace.]
[Illustration: Frames for square shades should have wire uprights at
corners.
A square shade is the proper thing to use on a lamp with a square
base. This is usually covered with four separate pieces laced
together at the corners and the top and bottom.]
PROCEDURE
1. Cut four sides.
2. Draw outlines in waterproof ink and color as above.
3. Punch holes ¼ inch from edges.
4. Holes on sides should match to make a neat lacing job.
5. Lace all four side pieces to the top.
6. Clamp lower edges and lace the corners.
7. Lace bottom edge.
8. Give entire shade several light coats of clear plastic spray.
Use a ⅛-inch paper punch.
LAMP SHADES
[Illustration: {uncaptioned}]
Since shades, in order to harmonize with Kachina doll lamps, cannot be
bought in stores, they will have to be made. There are three types of
shade that will look good: the cylindrical shade; the conventional
round, tapered shade; and the square shade. Round shades should be
selected for round bases, and square shades for square bases.
Use smooth three-ply drawing or bristol board, and transparent water
colors are better than poster colors.
Shades can be parchmentized by applying a mixture of one part turpentine
and two parts mineral oil. Apply the mixture to both sides with a wad of
absorbent cotton, and wipe off the surplus. This is done after the shade
is painted and glued together, since glue will not adhere to any oiled
surface.
I prefer to leave the paper white, just giving it several light coats of
clear plastic spray to prevent soiling.
Designs for shades should be appropriate. Southwest Pueblo designs fit
in well, such as thunder birds, rain birds, Kachina masks, etc. Your
library will no doubt be able to furnish many ideas along these lines.
If you object to lacing shades to the wire frame, you can use passe
partout binding tape which is already gummed and only has to be
moistened before applying.
CERAMIC ASH TRAYS
[Illustration: {uncaptioned}]
CERAMIC ASH TRAYS
[Illustration: {uncaptioned}]
This is one item that is becoming quite popular through the West and
there seems to be no limit in what can be done along these lines. You
will probably get a lot of ideas when traveling, but here are a couple
that are slightly “different.”
The top tray can be made of Mexican modeling clay or some other clay
that does not require firing. In that case the top and inside are not
decorated, and the outside decoration is put on with poster color and
covered with several coats of plastic or clear lacquer to give it a
kiln-dried ceramic appearance.
A cigarette box can also be made in the shape of a Kachina mask as a
companion piece to the tray. While the lower tray has the conventional
general shape, it could also be made with vertical sides.
A few years ago it was rather difficult to obtain a good turquoise blue,
but it is now on the market.
TOBACCO CANISTER
[Illustration: A one-pound coffee can is just right.
For better painting, scrape off all printed matter and wipe from can
before starting other work.
Can be painted with enamels, colored lacquer, or dope, but do not
try to use both on one job. They do not mix.]
[Illustration: Fasten together with glue and one screw.
The grooves in the cover and the base can be cut on a lathe, using a
face plate.
Fasten the cover to plywood with tacks. Put some thick shellac in
the groove.
“Nose” and “ears” should fit snug to can. Punch holes in tin and put
a coat of thick shellac on the wood when nailing ears to can.
Fasten base by pulling shellac in groove and fasten with small
brads.
Use a nail set and drive brads into base.]
TOBACCO CANISTER
[Illustration: {uncaptioned}]
This canister speaks for itself. There is this much to be said for it:
the lady of the house isn’t so apt to hide it when she is preparing for
guests.
As with any Kachina project, there is practically no limit to what can
be done in regard to design. You can take your pick of masks, and can
select the appendages that you like best.
Coffee cans have just about the proper shape and proportions for these
canisters, and the covers fit tightly. Be sure to smooth down the edges
of the can, using fine emery or other abrasive cloth.
The inside of the can should be given a coat of clear lacquer to prevent
rust from forming, since many brands of tobacco are slightly damp.
NECKERCHIEF SLIDES
[Illustration: Mask slides are easily made. Bore a ¾-inch hole for
the neckerchief first and the proceed as with any other mask.]
[Illustration: For a full figure slide, use only a half round piece
of wood, and glue a loop of leather to the back of it.]
[Illustration: ALUMINUM
This aluminum slide can be made without welding. The snout is
riveted in before bending the mask.]
[Illustration: SILVER
Beautiful slides can be made of sterling silver, and since it is
easily soldered, more can be added than with other materials. The
eyes are inset with turquoise forced into the bezel and then ground
off flush.]
[Illustration: When the tablette is forced down over the mask it
holds everything securely.]
NECKERCHIEF SLIDES
[Illustration: {uncaptioned}]
Slides are always in demand in scouting, and we show here four different
methods of making them.
Those made of wood are very colorful. In making the full figure, only
the vertical, front half of the form is used, and a ring of any material
may be attached to the back.
Metal slides require a little more work. Aluminum is a good metal for
youngsters. This requires no welding, but the tablet is fastened to the
mask with a tight drive fit.
Silver, of course, is for the finished craftsman, and anyone familiar
with silver soldering methods can easily produce one like that shown at
the bottom of the page. If turquoise is used, so much the better.
These metal slides are eye-catchers, since they are not to be found in
stores.
[Illustration: CEILING LIGHT FIXTURES]
[Illustration: BOOK ENDS
It is necessary to add a metal base such as this on light-weight
bookends. Be sure there are no sharp edges on it that might scratch
the furniture.]
CEILING LIGHT FIXTURE
Probably your thought on this fixture will be, “You can’t put that in a
living room.” Not in any or every living room, but I know a beautiful
large living room where a similar one is hung and it certainly sets off
the Navaho rugs and Indian baskets and pottery in that room. This
fixture would be ideal in a den or recreation room.
A cluster of four light bulbs should light it, or a socket can be set on
each of the four sides. Frosted, or better still, an opal glass should
be used. The side pieces are taken from the woven designs on Hopi
women’s dresses, predominantly black.
BOOK ENDS
These can also be made without the back or upright; that is, the doll
would be set flush with the back edge of the base. But the metal base
must be added unless the wooden base is well weighted with lead. I have
made them that way, but prefer the thin metal piece instead.
Twenty-gauge brass works out nicely. To fasten it, use small flat-head
screws, countersunk, and give the metal a coat of thin shellac where it
fits into the wood. Wood and metal must be flush along the bottom.
[Illustration: KACHINA DOLL POSTS]
KACHINA DOLL POSTS
[Illustration: {uncaptioned}]
These attractive gate posts are rather easy to make. I used sections of
old electric-line or telephone poles. They are of cedar and will
withstand the weather. After cleaning the surface of the post with a
drawknife, it is worked with a small hand ax, chisel, and mallet. Note
the 2-foot or 3-foot projection left on the bottom to set it.
Paint with ordinary house paint and, if you wish, finish with a coat of
clear varnish to protect the paint. I used water colors and finished
with two coats of clear spar varnish. But house paints are easier to
obtain.
The hearth posts may be flattened somewhat at the back to fit tightly
against the fireplace. Telephone poles make the best material as they
are well seasoned. The mantel shelf should be at least 2 inches thick.
Three inches would be better, and could be effected by gluing a 3-inch
piece of ⅞-inch lumber around the front and two ends to give it the
appearance of a solid 3-inch plank.
BIBLIOGRAPHY
Arizona Highways Magazine.
Various issues.
Cody, Bertha P.
1939. Kachina Dolls. The Masterkey, Vol. 13. Los Angeles.
Colton, Harold S.
1949. Hopi Kachina Dolls. Univ. of New Mexico Press. Albuquerque.
Dockstader, Frederick J.
1954. The Kachina and the White Man. Cranbrook Bulletin 35.
Bloomfield Hills, Mich.
Earl, Edwin.
1938. Hopi Kachina. Waverly Press. Baltimore.
Fewkes, J. W.
1903. Hopi Kachina. Bur. of Amer. Ethnology, Ann. Rept. 21.
Washington, D. C.
Mera, H. P.
1937. Rainbird. Lab. of Anthropology Memoir, Vol. 2. Santa Fe.
Roediger, Virginia.
1941. Ceremonial Costumes of the Pueblo Indians. Univ. of Calif.
Press. Berkeley.
Underhill, Ruth.
1944. Pueblo Crafts. U. S. Indian Service, Phoenix Indian School.
Phoenix, Ariz.
Transcriber’s Notes
—Silently corrected a few typos.
—Retained publication information from the printed edition: this eBook
is public-domain in the country of publication.
—Adjusted some references to images to fit a reflowable eBook {changes
are included in brackets}.
—In the text versions only, text in italics is delimited by
_underscores_.
*** End of this LibraryBlog Digital Book "Kachina Dolls - Milwaukee Public Museum Popular Science Handbook Series #7, Sept. 1957" ***
Copyright 2023 LibraryBlog. All rights reserved.