e likely to be told of that which is sacred lore. However, if the
tourist insists upon having a story with his basket or pottery and the
seller realizes that it's a story or no sale, he will glibly supply a
story, be he Indian or white, both story and basket being made for
tourist consumption.

To the old time Indian everything had a being or spirit of its own, and
there was an actual feeling of sympathy for the basket or pot that
passed into the hands of unsympathetic foreigners, especially if the
object were ceremonial. The old pottery maker never speaks in a loud
tone while firing her ware and often sings softly for fear the new being
or spirit of the pot will become agitated and break the pot in trying to
escape. Nampeo, the venerable Tewa potter, is said to talk to the
spirits of her pots while firing them, adjuring them to be docile and
not break her handiwork by trying to escape. But making things to sell
is different--how could it be otherwise?

In one generation Indian craftsmen have come to be of two classes, those
who make quantities of stuff for sale and those few who become real
artists, ambitious to save from oblivion the significance and idealism
of the old art that was done for the glory of the gods. Indian art may
survive with proper encouragement, but it must come now; after a while
will be too late.

A notably fine example of such encouragement is the work of Mary Russell
F. Colton of Flagstaff, Arizona, in the Hopi Craftsman Exhibition held
annually at the Northern Arizona Museum of which she is art curator. At
the 1931 Exhibition, 142 native Hopi sent in 390 objects. Over $1500
worth of material was sold and $200 awarded in prizes. The attendance
total of visitors was 1,642. From this exhibit a representative
collection of Hopi Art was assembled for the Exposition of Indian Tribal
Arts at the Grand Central Galleries, New York City, in December of the
same year. A gratifying feature of these annual exhibits is the fact
that groups of Hopi come in from their reservation 100 miles away and
modestly but happily move about examining and enjoying these lovely
samples of their own best work and that of their neighbors; and they are
quick to observe that it is the really excellent work that gets the blue
ribbon, the cash prize, and the best sale.

Dr. Fewkes points out that while men invented and passed on the
mythology of the tribe, women wrote it down in symbols on their
handicrafts which became the t