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Published  by  the  Nuseum  o{  New  México  and  the  School  oí  American  Research 

A  Semi-Monthly  Review  oí  the  Arts  and  Sciences  in  the  American  Southwest. 

Senl  free  to  Members  of  the  New  México  Archaeological  Society  and  the  Santa   Fe  Scciety 

of  the  Archaeologica!  Inslitute. 

Acceptance  for  mailing   at   special  rate  of  postage  provided   for  in  Section   1  103,  Act  of  Oc- 
tober  3.   1917,  authorized  July  1  6.   1  9  1  8. 


Voi.    X. 


JUNE   15.    1921. 


Nos.    13  and    14. 


THE    SÍGNAL 

By  J.   H.   Sharp 


EL   PALACIO 


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EL    PALACIO 


INDIAN    MUSIC 

By  Francés  Densmore 


^^NE  great  difficulty  in  the  study  of  In- 
dian  music  is  that  people  expectit  to 
be  Eomewhat  like  the  music  of  the  white 
race.  People  sometimes  say  that  Indians 
have  no  music  because  their  music  is  not 
like  that  to  which  we  are  accustomed.  It 
is  natural  for  us  to  take  as  a  basis  that 
with  which  we  are  familiar,  so  we  will  be- 
gin  our  consideration  of  Indian  music  with 
a  few  words  about  the  music  of  the  white 
race.  We  will  ask  two  questions,  "Why 
do  white  people  sing?"  and  "What  do 
white  people  sing  about?"  Then  we  will 
ask,  "Why  do  Indians  sing?"  and  "What 
do  Indians  sing  about?" 

You  know  enough  about  the  music  of 
the  white  race  to  have  some  idea  of  why 
we  sing.  Individuáis  sing  when  they  are 
happy  or  sad,  and  when  many  people  are 
together,  their  smgmg  gives  expression  to 
their  thoughts  and  feehngs  and  unites  them 
in  thought.  Smgmg  m  religious  meetings 
or  pubhc  gathenngs  is  an  expression  of 
feeling.  At  the  present  time,  there  are 
held  what  are  called  "Community  Sings," 
with  the  idea  that  if  people  smg  together 
it  will  make  them  feel  more  friendly  to- 
ward  each  other.  Chorus  singmg  formed 
an  important  feature  of  life  in  the  Army 
camps.  Among  the  white  people  there 
is  also  music  as  an  art,  including  solo  or 
chorus  smgmg  and  instrumental  music, 
such  as  solos  on  various  mstruments  and 
orchestral  and  band  music.  Our  second 
question  is  "What  do  white  people  smg 
about?"  It  is  said  that  more  than  half 
onr  songs  are  about  love;  next  m  popu- 
lanty  are  songs  of  pleasure  in  spnng,  or  m 
the  songs  of  birds  with,  of  course,  many 
other  subjects;  we  have  also  our  hymns 
and  patriotic  songs.  You  see  that  all 
these  contam  an  expression  of  thought  or 
feelmg. 

Some   white   people   think  that  Indian 


music  is  a  free  expression  of  feeling,  and 
that  the  Indians  "pour  out  their  hearts  m 
song,"  but  that  is  not  the  Indian  way  of 
doing  things.  People  who  are  better  in- 
formed  concerning  the  Indians  know  they 
have  ceremonial  songs  that  are  handed 
down  for  generations,  and  that  if  a  mis- 
take  is  made  in  the  public  singing  of  one 
of  these  songs,  the  singer  is  punished  and 
his  part  of  the  ceremonv  must  be  done 
over  again.  Some  say  that  the  Indians 
have  only  one  tune,  or  at  most,  two  or 
three  tunes.  People  tell  me  this  is  sure- 
ly  true  because  they  have  listened  to  a 
dance  for  a  whole  evening,  but  you  and 
I  know  that  one  Indian  ceremony  may 
have  hundreds  of  songs. 

For  more  than  thirteen  years  I  have 
been  studying  the  music  of  the  American 
Indian  under  the  auspices  of  the  Bureau 
of  American  Ethnology  of  the  Smithson- 
lan  Institution  at  Washington.  Ttie  meth- 
od  of  work  is  as  follows:  I  take  a  phono- 
graph  to  the  Indian  reservation,  record 
the  songs  from  oíd,  reliable  singers  and 
transcribe  them  as  nearly  as  possible  in 
musical  notation,  then  classify  and  ana- 
lyze  them  by  a  system  which  I  have  de- 
vised  for  the  purpose.  I  write  down  all 
available  information  about  the  origin 
and  use  of  the  songs  and  make  a  study 
of  the  native  musical  instruments.  You 
will  note  that  I  have  thus  far  used  the 
word  "Indian,"  but  tribes  diífer.  They 
differ  m  disposition,  and  part  of  my  work 
is  to  ímd  how  they  difíer  in  their  music. 
I  have  studied  the  music  of  seven  tribes, 
the  Chippewa,  Sioux  (Dakota),  Mandan, 
Hidatsa.Ute,  Pawnee  and  Papago.  One 
object  of  the  work  is  to  preserve  the  oíd 
songs  and  another  is  to  find  in  exactly 
what  respects  the  music  of  these  tribes  is 
alike  and  in  what  respects  it   is   difieren!. 

We  will  now  return  to  our  questions  and 


EL    PALACIO 


ANCESTRAL  SPIRITS 

By   John  S!oan 


ask  them  with  reference  to  the  Indians. 
Firsr,  "Why  do  Indians  sing?"  The  most 
interesling  reason  is  to  produce  a  deíinite 
result.  You  will  remember  that  is  not 
amongthereasons  why  while  people  sing. 
Müsic  is  not  the  only  means  which  the 
Indian  uses  m  producing  certain  rcsults, 
but  it  is  considered  absolutely  necessary. 
Songs  of  this  Icind  are  sung  by  medicine 
men  ard  are  said  to  be  received  in  dreams 
or  trances.      No  one  could  sit   dovvn  and 


make  up  a  song  that  would  have  magic 
power.  It  has  to  come  through  hard  work 
and  a  man  must  suffer  much  to  get  il. 
We  can  learn  a  lesson  írom  the  oíd  med- 
icine men  who  believed  they  must  work 
for  anything  that  was  worth  while.  A 
medicine  man  had  to  work  all  the  time  to 
keep  up  his  power,  or  it  would  leave  hini. 
The  rules  ot  his  life  were  very  strict  and 
he  lived  up  to  them.  Such  were  the  men 
who  instructed  the  fathers  of  the   present 


EL    PALACIO 


generation  of  Indians  and  by  their  teach- 
ings  the  oíd  Indians  were  able  to  make  a 
living  in  the  desert,  to  fight  their  enemies 
and  to  carry  on  their  tribal  affairs. 

Many  and  various  were  the  effects 
said  to  have  been  produced  by  singing  in 
connection  with  certain  acts  of  the  med- 
icine man.  First  and  most  important  was 
the  curing  of  the  sick.  The  Indians  had 
different  songs  for  diííerent  illnesses. 
There  were  songs  to  cure  a  fever,  a 
cold,  ot  a  broken  arm.  They  had  songs 
for  every  sort  of  illness  and  would  never 
use  the  song  of  one  illness  when  trying 
to  cure  another.  A  Dakota  medicine 
man  sang  many  of  these  songs  for  me  and 
gave  me  the  herb  that  he  used  with  each 
song,  saying  that  neither  would  be  eífec- 
tive  without  the  other.  In  another  tribe 
I  found  not  only  special  songs  but  spé- 
cial  ways  of  singing  them.  Songs  for 
certain  diseases  were  sung  louder  than 
others  and  one  kind  of  a  song  was  always 
sung  with  a  drawling  tone.  People  knew 
how  the  doctor  ought  to  sing  each  kind 
of  song  You  see  that  Indian  doctors  had 
to  be  very  good  singers,  not  so  much  in 
the  qualit}'  of  their  voices  as  in  the  num- 
ber  of  their  songs,  and  in  their  ability  to 
get  songs  in  dreams.  The  use  of  music 
in  treating  the  sick  is  being  developed  by 
white  people,  butis,  I  think,  limited  to  ner- 
vous  and  mental  disorders.  It  was  tried 
during  the  war  when  music  soothed  or 
cheered  the  soldiers  in  the  hospiteJs.  Note 
the  difference  in  the  way  the  races  arrive 
at  the  use  of  music  in  the  relation  to  the 
sick.  The  Indian  says  he  "receives  the 
songs  and  instructions  for  their  use  in  a 
dream,"  the  white  people  experiment, 
write  down  results  and  print  them,  and  af- 
ter  a  time,  the  result  is  put  in  practical  form 
and  generally  accepted.  This  is  a  differ- 
ence in  race,  caused  partly  by  natural  tem- 
perament  and  partly  by  manner  of  life. 

Cure  of  the  sick  was  not  the  only  result 
attained  by  the  aid  of  song.  I  have  re- 
corded  songs  to  secure  success  in  hunt- 
ing,  to  make  the  enemy  stupid  so  the 
warriors  could  safely  attack  them,  songs 
íor  rain,   for    good    crops,     for    luck    in 


games,  and  songs  to  enable  a  medicine 
man  to  lócate  lost  cattle  or  persons  or 
objects.  Not  all  the  results  were  good. 
There  were  "charm  songs"  or''magic  songs" 
that  produced  bad  results  and  among  these 
were  "love  charm  songs,"  which  were  said 
to  "make  a  man  crazy."  The  good  peo- 
ple of  the  tnbe  did  not  approve  of  these 
songs,  for  their  purpose  was  bad. 

Our  second  question  is,  "What  do  In- 
dians sing  about?"  Probably  the  most 
important  subject  of  their  songs  was  what 
they  saw  m  their  dreams.  These  songs 
were  frequently  concerning  animáis  which 
a  man  saw  in  his  dream.  Among  the 
Sioux  I  recorded  a  song  with  the  words: 
"Northward  they  are  walking, 
A  sacred  stone  they  touch, 
They  are  walking." 
The  man  who  received  this  song  had 
seen  the  buffalo  in  his  dream  and  there- 
fore  was  entitled  to  jom  the  Buffalo  so- 
ciety,  composed  of  men  who  had  had 
similar  dreams.  It  is  customary  for  white 
people  to  sing  songs  that  express  the  feel- 
ings  of  lovers  but  this  does  not  appear  to 
have  been  customary  among  the  oíd  In- 
dians. In  one  tribe  after  another  I  have 
asked  the  oíd  people  whether  love  songs 
were  sung  when  they  were  young,  and 
sometimes  they  are  slightly  oífended. 
They  tell  me  that  the  kind  of  love  song 
that  "talks  so  much,"  did  not  come  into 
use  until  the  oíd,  strict  customs  begcín  to 
be  broken  down.  Of  course,  I  cannot 
speak  about  tribes  that  I  have  not  studied. 
bul  I  will  tell  you  what  has  been  told  me 
in  these  tribes.  The  Chippewa  told  me 
that  love  songs  were  modem.  I  recorded 
several  Chippewa  love  songs  and  they 
were  especially  sweet  and  plaintive  melo- 
dies,  but  they  were  said  to  be  modem. 
In  the  oíd  days  the  marriages  were  ar- 
ranged  by  the  parents  of  the  young  peo- 
ple. This  is  expressed  in  a  song  which 
was  recorded  by  the  daughter  of  a  chief 
in  northem  Wisconsin,  who  leamed  it 
from  her  mother.      The  words  are: 

"I  am  asking  for  Bugacs  daughter, 
My  big  brass  kettle  he  is  giving." 
A  brass  kettle  was  among  the  first  and 


EL    PALACIO 


THE    TRAPPER 

By  Alien  True 
(Denver's  Civic  Cenler) 


inost  highly  pnzed  articles  that  the  Chip- 
pewas  received  from  the  Irader,  and  this 
was  undoubtedly  a  great  inducement. 
I  he  Sioux  told  me  that  m  oíd  times  the 
only  hnd  oí  Jove  songs  were  about  the 
malter  oí  whether  a  young  man  was  rich 
cnough   to    marry.      The    followmg  can 


scarcely  be  called  a  love  song  m  the  pop- 
ular sense  of  the  term,  but  it  was  said  to 
be  very  oíd.      The  words  are: 

"You  may  go  on  the  war  path, 
When  1  hear  your  ñame  announced 

among  the  victors, 
Then  I  will  marry  you." 


EL   PALACIO 


It  was  said  that  a  young  Sioux  went  to 
war  believing  that  the  girl  he  hoped  to 
marry  was  untrue  to  him.  The  report 
was  íalse,  but  he  went  with  the  warriors. 
Beío'  e  a  fight  he  said  he  hoped  he  would 
be  killed  and  sang  a  song  with  these  words: 

"When  you  reach  home,  tell  her. 

Long  before  then  I  will  have  finished." 

You  see  that  this  song  expresses  affec- 
lion,  but  is  not  a  love  song  m  the  white 
people's  use  of  the  term.  A  chief  of  the 
Pawnee  said  that  courting  songs  were 
sung  only  by  a  band  of  Pawnee  that  had 
worked  for  white  people  near  a  town. 

The  Papago  said  that  in  oíd  times  they 
had  songs  like  the  "love  chann  songs"  I 
have  mentioned,  but  they  were  consid- 
ered  dangerous,  and  if  a  man  sang  them 
too  much,  they  had  a  medicme  man  come 
and  treat  him  so  that  he  would  stop. 
Most  of  the  tribes  I  have  studied  had  a 
"ilute"  (flageolet)  that  a  young  man 
played  on  the  hills  or  around  the  edge  of 
the  village  m  the  evenmg.  He  did  it  to 
please  the  girls  or  perhaps  one  girl,  but 
she  sat  inside  the  lodge  and  pretended 
not  to  hear  it. 

Indians  had  no  patriotic  songs,  be- 
cause  thev  were  not  united  as  a  nation. 
Some  songs  mentioned  the  ñame  of  the 
tribe,  but  nol  as  we  say  "America."  In- 
stead,  ihey  praised  chiefs  and  successful 
warriors,  putting  their  ñames  in  a  song. 
Indians  celebrated  their  victories  in  song 
more  than  white  people  do,  often  describ- 
mg  a  battle  oí  telling  about  the  expedi- 
tion.  Sometimes  they  took  out  the  ñame 
of  one  man  and  put  in  another,  as  though 
we  had  a  song  about  Dewey  and  after 
the  late  war  we  took  out  Dewey's  ñame 
and  put  in  that  of  Pershing.  If  a  man 
heard  his  ñame  in  a  song  he  was  expect- 
ed  to  come  forward  and  give  a  present  to 
the  J'singers,  for  instance,  a  song  might 
contain  the  words:  "Two  Bears  is  very 
generous,  he  always  gives  us  somethmg." 
It  is  easy  to  guess  what  Two  Bears  did 
when  he  heard  this  song.  Indians  had 
more  dancing  songs  than  white  people 
because  they  danced  for  so  many  reasons. 
We  dance  for  pleasure.  but  they  danced 


not  only  for  pleasure  but  in  conneclion 
with  their  solemn  ceremonies.  It  is  re- 
markable  to  ¡earn  how  many  kinds  oí 
dances  the  oíd  people  had,  each  with 
its  own  step.  Of  course,  few  dance 
songs  are  being  made  up  now  because 
the  younger  Indians  have  something  bet- 
ter  to  do.  Among  the  Sioux,  I  recorded 
dance  songs  believed  to  be  from  fifty  to 
one  hundred  and  fifty  years  oíd  and 
others  that  were  less  than  fifty  years  oíd, 
and  on  comparing  the  two  classes  I  found 
differences  in  the  structure  of  the  song; 
that  suggest  the  iníluencc  of  the  changed 
manner  of  Indian  life.  One  diíference  is 
that  the  compass  of  the  modem  song  is 
smaller  and  the  rhythm  more  regular. 
Mention  should  be  made  of  the  "wailing" 
songs  that  follow  the  buria!  of  the  dead, 
and  of  the  ceremonial  songs  which  are 
too  extensive  for  present  consideration. 

In  every  tribe  I  find  songs  that  were 
sung  for  the  entertainment  of  chüdren. 
These  are  usually  connected  with  stories 
and  the  singing  is  supposed  to  be  done  by 
animáis.  The  stories  usually  contain  a 
useful  lesson  for  it  was  the  Indian  custom 
to  amuse  the  children  and  instruct  them 
at  the  same  time.  There  are  also  songs 
of  children's  games  and  every  tribe  has 
its  lullaby  which  the  mother  sings  to  the 
baby. 

The  songs  of  the  white  people,  as 
you  know,  are  printed  in  books  or  sheel 
music,  and  on  the  cover  is  the  ñame  of 
the  composer  and  the  ñame  of  the  pub- 
lisher.  White  people  learn  music  from 
these  printed  pages.  There  is  nothing 
exactly  like  this  in  the  music  of  the  In 
dian,  yet  one  tribe  has  a  way  of  record- 
ing  songs  for  those  who  understand  the 
method.  The  songs  are  those  of  the 
Chippewa  Grand  Medicine  Society  and 
are  recorded  by  means  of  pictures  that 
represent  the  words  of  the  song.  Tlie 
pictures  are  usually  drawn  on  birchbcirk  and 
any  one  who  knows  the  song  will  recognize 
the  picture.  The  words  are  conceming 
the  customs  or  beliefs  of  the  Grand  Medi- 
cine Society.  Frequently  they  mention 
shel's  or   animáis    that  live  in   the   water. 


EL     PALACIO 


THE   EAGLES  AT  SAN   ILDEFONSO 

By  Louise  Crow 


In  order  to  test  the  accuracy  of  this  sys- 
tem,  I  secured  songs  and  their  pictures 
on  one  reservation,  then  took  the  pnono- 
graph  to  another  reservation  and  played 
ihe  record  of  the  song,  asking  an  oíd 
Chippewa  to  draw  the  proper  picture. 
He  drew  the  same  picture  that  had  been 
drawn  on  the  first  reservation.  I  also 
showed  the  picture,  and  without  hesita- 
tion  the  Indian  sang  the  same  song  which 
had  been  previously  recorded.  This 
test  included  three  reservations  and  a 
considerable  number  of  singers,  more 
than  one  hundred  of  these  songs  and 
pictures  being  obtained.  The  picture, 
oí  course,  did  not  represent  the  melody 
which  had  to  be  retained  in  the  mem- 
ory. 

If  a  man  received  a  song  in  a  dream 
it  was  known  as  his  song.  In  some  in- 
.stances  he  was  v^illing  to  have  others 
learn  it  and  would  teach  it  to  the  sing- 
ers at  a  dance;  in  other  instances  he 
kept  the  righl  to  sing  his  own  song   and 


people  would  not  daré  sing  it  though 
they  might  know  it  from  hearing  him 
sing  it;  in  still  other  instances  the  man 
would  teach  the  song  if  he  were  péiid. 
From  these  various  instances  you  will 
see  how  unsafe  it  is  to  generalize  about 
Indian  music.  There  is  always  some- 
thing  new  and  unexpected  which  shows 
US  that  the  study  of  Indian  music  is  a 
very  wide  and  deep  subject.  It  was 
quite  expensive  to  learn  some  kinds  of 
Indian  songs.  Often  the  price  of  a 
song  was  a  horse,  blanket  or  a  gun  and 
ihere  were  songs  that  a  father  would 
not  teach  to  his  son  without  payment. 
As  already  stated,  the  song  which  a  man 
received  in  a  dream  was  known  as  his 
song  and  the  Indians  gave  him  credit  for 
the  song  though  he  had  been  dead  for 
many  years,  saying  for  example,  "This 
song  belonged  to  Lone  Wolf,  who  died 
about  ten  years  ago."  Songs  leamed 
from  another  tribe  are  also  credited  to 
the  tribe.       Fhis  giving  of  credit  for  the 


EL    PALACIO 


9 


origin  of  a  song  takes  the  place  of  a  copy- 
right among  white  people. 

I  have  not  spoken  of  the  peculiarilies 
of  the  songs.  Chief  among  these  are  the 
importance  of  rhythm  and  the  descend- 
mg  trend.  These  peculianties  are  com- 
mon  to  all  the  tribes  1  have  studied.  The 
varied  length  of  the  "measures,"  is 
shown  by  the  accented  notes.  In  trans- 
cñbing  a  song,  I  wnte  down  the  notes 
and  mark  those  that  are  accented.  On 
counting  the  time  between  these  accented 
tones,  I  oíten  find  that  the  distances  are 
uneven,  many  songs  containing  measures 
in  2 — 4,  3—4,  5-8  time,  or  occasion- 
al  measures  3  8  or  7  8  time.  These 
measures  are  repeated  in  exactly  the  same 
time  ihough  the  song  may  be  sung  five, 
six  or  ten  times.  A  good  Indian  singer 
repeats  a  song  very  accurately.  I  have 
tested  this  by  havmg  a  song  recorded  at 
intervals  of  several  days  or  monlhs.  For 
instance,  I  secured  records  from  an  oíd 
Indian  in  October  and  again  in  the  fol- 
lowing  March;  the  records  vs^ere  identical 
not  onlv  in  tempo  and  note  valúes,  but  also 
in  pitch.  I  have  tested  the  individuality 
of  a  song  by  having  it  recorded  by  sever- 
al singers. 

The  Indians  have  standards  of  good 
singing  as  well  as  white  people,  though 
their  manner  of  singing  is  entirely  differ- 
ent.  White  people  open  their  mouths  to 
sing  but  Indians  keep  the  n.outh  almost 
closed,  the  tone  being  formed  by  a  pecul- 
iar aclion  of  the  throat.  It  is  surprising 
to  hear  how  clearly  they  enuncíate  six- 
teenth  and  thirtysecond  notes.  Their  voi- 
ces  are  loud  and  many  singers  cultivate  a 
trémulo  tone.  Chippewa  love  songs  are 
sung  with  a  nasal  sound  not  used  in  any 
other  songs.  Drums  and  rattles  are  the 
principal  native  instruments  and  each  is 
used  with  a  certain  kind  of  song. 

The  result  of  my  work  is  printed  by 
the  Bureau  of  American  Ethnology  and 
copies  of  the  books  are  available  to  those 
who  are  especially  interesled.  Three 
books  have  already  been  issued,  two  on 
the  music  of  the  Chippewa  and  one  on 
the  music  of  the  Sioux.     A  book  on  North- 


ern Ute  Music  is  now  m  the  pr^ss  and 
one  on  Mandan  and  Hidatsa  Music  is 
ready  for  publication.  Books  on  Pawnee 
Music  and  Papago  Music  are  in  prepara- 
tion.  Songs  which  I  have  collected  have 
been  used  by  many  composers  and  ar- 
ranged  for  vo.ce,  violin,  piano,  and  or- 
chestra.  Personally,  I  consider  the  or- 
chestra  as  the  best  means  of  presenting 
Indian  music  as  it  gives  opportunity  for 
extended  thematic  development  and  the 
harmony  is  divided  among  many  instru- 
ments. 

Indian  songs  are  rapidly  passmg  away 
with  the  necessary  passing  of  the  oíd 
customs.  You  are  Amencans,  pan  of 
the  great  American  nation,  and  as  such 
you  must  take  up  the  life  and  customs  of 
American  citizens.  Your  responsibility 
IS  for  the  future,  but  your  respect  is  still 
due  to  the  past,  to  the  best  in  the  teach- 
mgs,  life  and  customs  of  that  fine,  ancient 
race,  the  North  American  Indian. 


WORK   IN  THE  FIELD 


Excavating  Pueblo  Bonito. 

Neil  Judd,  formerly  of  the  stafí  of  the 
School  of  Amencan  Research,  was  in 
Santa  Fe  on  May  4th  on  his  way  to  the 
Chaco  Canyon,  where  he  will  have 
charge  of  exploration  and  excavation  for 
the  National  Geographical  Society.  The 
work  is  to  be  on  a  larger  scale  than  any 
as  yet  undertaken  in  the  Southwest.  The 
excavation  of  the  Pueblo  Bonito  begun 
several  years  ago  and  then  abandoned, 
is  to  be  completed  and  the  building  in 
part  restored.  The  ruin  of  the  Pueblo  del 
Arroyo  near  by  is  also  to  be  excavated. 
Both  sites  are  near  Chettro  Kettle,  the 
great  community  house  the  excavation  of 
which  was  inaugurated  by  the  School  of 
American  Research  last  year,  with  signifi- 
cant  results  that  have  already  been  pub- 
lished  in  part.  The  Geographical  Soci- 
ety,  on  recommendation  of  Sylvanus  G. 
Morley,  also  formerly  with  the  School  of 
American  Research,  is  planning  a  five 
years  campaign.  Mr.  Judd  has  been 
granted  a  leave  of  absence    by    the    Bu- 


10 


EL     PALACIO 


< 


< 


reau  of  Amencan  Elhnolcgy  m  order  lo 
do  this  work,  and  will  have  as  his  assist- 
ant  Mr.  Earl  Morris  also  formerly  with  ihe 
School  of  Amencan  Research  but  of  late 
with  the  Amencan  Museum  of  Natural 
History,  for  which  fie  excavated  tfie  ruins 
at  Aztec.  Mr.  Judd  will  employ  most- 
ly  Pueblos  from  Zuni  in  bis  work,  but 
expects  also  to  have  a  small  number  of 
Navajoes  employed.  He  will  make  Gal- 
lup  his  headquaiters.  There  is  a  report 
of  the  probability  ol  a  fhird  expedition 
undertakmg  to  excávale  one  of  the  olher 
large  communily    houses   m    ihe    Chaco 


Canyon,  which  is  a  National  Monument, 
and  which  the  National  Parks  Service  in- 
lends  to  feature  in  its  publications  in  the 
future,  bringing  many  tourists  to  that  part 
of  the  Navajo  Reservalion. 

Concession  in  Palestine. 

The  Pennsylvania  üniversity  Museum 
has  received  from  the  Government  of 
Palestme  a  concession  to  excávate  the 
ruins  of  Beisan,  the  ancient  Beth-shan  of 
the  Bible.  Clarence  S.  Fisher,  who  con- 
ducted  the  Museum's  work  in  Egypt,  goes 
to  Palestine  this  month  by  way  of  Egypt. 


FL    PALACIO 


]\ 


Art  i\'  New  México 


nPHE  beginning  of  a  diátincítive  art 
movement  in  New  México  dates 
back  a  quarleí  of  a  cenlury.  It  is  true 
that  even  before  that  time,  painters  in  pass- 
mg  through  had  caught  a  note  of  ihe 
landscape  and  the  spirit  of  the  country, 
but  it  vvas  not  until  in  the  90's  that  there 
located  at  Taos  within  easy  walkmg  dis- 
tance  of  the  great  pyramid  commumty 
houses,  several  artiáts  who  brought  to  the 
world  at  large  a  message  of  the  south- 
weátern  desert  that  was  as  striking  as  it 
was  novel.  Among  the  pioneers  was 
Frank  Sauerwin  who  passed  away  m 
comparative  poverty  and  obscunty.  Bert 
Phillips.  J.  H.  Sharp,  Irving  F.  Couse,  N. 
A.,  Ernest  L.  Blumenschein,  A.  N.  A., 
all  of  them  still  members  of  the  Society 
of  Taos  Arüáts,  were  also  among  the  pio- 
neers  who  made  the  Pueblo  life  and  the 
New  México  landscape  their  theme.  To 
these  were  added  in  time,  O.  E.  Ber- 
ninghaus,  W.  Herbert  Dunton,  and  oth- 
ers.  In  later  years  there  carne  a  greater 
influx  until  the  liá\  of  aitiáls  who  have 
painted  at  Taos  in eludes  fullv  Iwo  score 
ñames  and  among  them  such  distinguished 
men  as  Walter  Üfer,  A.  N.  A.,  Victor 
Higgins,  A.  N.  A.,  Burt  Harwood,  Mau- 
rice  Steme,  and  others  who  have  gained 
fame  wilh  their  canvasses  exhibited  in  the 
eaálern  art  centers  and  who  have  been 
awarded  some  of  the  most  coveted  prizes 
of  the  art  world.  A  decided  Ímpetus 
and  broadening  of  the  New  México  art 
íield  was  given  by  the  erection  and  dedi- 
cation  of  an  art  gallery  in  connection  with 
the  Museum  of  New  México  and  School 
of  Amencan  Research  at  Santa  F  e.  It 
was  there  that  men  of  such  standing  as 
Robert  Henri,  George  Bellows,  John 
Sloan,  León  Kroll,  Gustave  Baumann, 
B.  J.  O.  Nordfeldt,  drew  other  artiáts 
who  built  themselves  ¿ludios  and  organ- 
ized  the  Santa  Fe  Art  Club,  which  m  a 
way  is   a   counterpart   to   the   Society   of 


Taos  Artiáts,  although  less  inclmed  to  re- 
¿trict  its  membership  to  a  chosen  few. 
1  hus  it  came  about  that  some  two  score 
artiáts  have  produced  work  closely  asso- 
ciated  with  Santa  Fe.  With  Taos  and 
Santa  Fe  as  centers,  there  was  a  gradual 
widening  of  the  field  sought  by  the  ar- 
tiáts who  came  to  the  Southwest  from  the 
east  and  the  middle  west.  They  visited 
the  other  Indian  pueblos  of  the  Rio 
Grande  Valley  as  well  as  Laguna,  Aco- 
ma  and  Zuni.  Some  of  them  dwelt  more 
or  less  time  in  Albuquerque,  Ratón  and 
other  places,  but  still  lookmg  to  Taos  and 
Santa  Fe  as  the  home  and  center  of  the 
southweslern  art  activities. 

It  is  characteristic  of  this  art  move- 
ment that  it  finds  expression  not  only  m 
one  school  but  m  a  very  broad  scope  of 
technique.  There  are  represented  among 
the  men  who  paint  the  Pueblo,  Navajo 
and  Apache,  academicians  as  well  as  the 
most  advanced  of  the  moderns.  It  is 
worthy  of  note  to  say  the  least,  that  prac- 
tically  each  man  has  retained  an  mdivid- 
uality  and  has  worked  out  a  technique 
that  difíers  from  that  of  his  fellows  who 
find  the  same  theme  both  in  figure,  land- 
scape and  genre.  Thus  there  are  exhib- 
ited  in  adjoining  alcoves  of  the  beautiful 
Museum  of  Santa  Fe  the  work  of  men 
like  Couse  and  Nordfeldt,  Sharp  and 
Burlin,  Ufer  and  Davey,  Phillips  and 
Murk,  Berninghaus  and  Sloan,  Dunton 
and  Bellows,  Younghusband  and  Bakos, 
Rollins  and  Schuáter,  and  a  hoát  of  oth- 
ers. A  liál  of  those  who  have  exhibited 
in  the  Museum  smce  its  dedication  in 
Thanksgiving  week,  1918,  comprises 
80  ñames  of  artiáts  who  have  pamted  in 
New  México,  many  of  them  well  known 
and  most  of  them  distmguished  in  the  art 
world.  Among  the  women  painters  have 
been  such  as  Grace  Ravhn,  Doris  Ros- 
enthal,  Olive  Rush,  Helen  Dunlap,  Lou- 
ise     Crow,     Katherine     Dudley,     Alice 


12 


EL    PALACIO 


TESUQUE 
By  George  Bellows 


EL  PALACIO 


VOL.  X.      JUNE  15,  1921.      NOS.  13-14 


PAUL  A.  F.  WALTER.  -Editor 

Klauber,  H.  Margaret  George,  Gladys 
V.  Mitchell,  Mrs.  Walter  Ufer.  ihe 
Misses  McChord,  Ethel  Coe,  Eva  Spring- 
er,  and  a  dozen  or  so  others. 

The  scope  of  this  article  will  not  per- 
mit  more  than  mere  mention  of  some  of 
the  more  prominent  ñames  of  ihose  vvho 
have  lately  exhibited  in  addition  to  mem- 
bers  of  the  staff,  which  mclude  Sheldon 
Parsons,  the  art  curator,  Kenneth  M. 
Chapman  and  Carlos  V-.erra.  Many  of 
those  named  have  remembered  the  Mu- 
seum  vvith  fine  canvasses  from  their  brush, 
makmg  them  a  gift  to  the  people  of  New 
México.  The  liát  includes  Robert  Henri, 
John  Sloan,  Julius  Roishoven,  Paul  Bur- 


lin,  W.  E.  Rollins.  J.  H.  Sharp.  Walter 
Ufer,  Grace  Ravlin,  Irving  E.  Couse, 
Wm.  Penhallow  Henderson,  Bert  Phil- 
lips, B.  J.  O.  Nordfeldt,  Marsden  Hart- 
ley,  F.  Sacha,  E.  L.  Blumenschein,  O.  E. 
Berninghaus,  W.  Herbert  Dunton,  Arthur 
Musgrave,  Victor  Higgins,  A.  L.  Groll, 
Alien  T.  True,  Gustave  Baumann,  Bir- 
ger  Sandzen,  Miss  Katherine  Dudley, 
Miss  Louise  Crow,  J.  H.  Baleos,  W.  E. 
Murk,  Gerald  Cassidy,  G.  C.  Stanson, 
the  late  Donald  Beauregard,  to  vvhom  a 
memorial  galleny  is  dedicated  and  vvho 
was  the  cieator  of  the  muráis  m  the  aud- 
itorium,  which  were  completed  by  Ken- 
neth M.  Chapman  and  Carlos  Vierra.  J. 
Mártir.  Hennings,  Alice  Klauber,  Olive 
Rush,  Ethel  Coe,  Henry  Balink,  Edgar 
S.  Cameron,  Lee  F.  Hersch,  León  Kroll, 
Ralph  Myers,  the  Misses  McChord.  Ar- 
thur F.  Musgrave,  Miss  Doris  Rosenthal, 
Mrs.  Walter  Ufer,  Theodore  Van  Soelen. 
León    Gaspard,    Randall    Davey,    Will 


EL    PALACIO 


13 


ScKuáler,  Gladys  V.  Mitchell,  Fremont 
Ellis,  Miss  M/M.  Bailey,  E.  G.  Eisen- 
loehr,  H.  Margaret  George  and  many 
others. 

The  policy  of  the  Maseum  management 
has  been  a  very  liberal  one.  It  has 
given  exhibit  spaces  freeof  charge  to  ev- 
ery  one  vvho  was  earnestly  and  sincereiy 
striving  to  express  hinnself  on  canvass. 
The  Director  of  the  Museum,  Dr.  Edgar 
L.  Hewett,  has  formuiated  the  poltcy  as 
follows: 

"Most  remarkable  has  been  the  exper- 
lence  of  the  New  Art  Museum  in  San- 
ta Fe.  It  may  be  doubíed  if  any  o'her 
part  of  America  affords  a  parallel  to  the 
art  activity  of  New  México  at  íhc  pres- 
ent  rime.  If  the  Art  Museum  of  the 
School  has  been  a  stimulus  to  this  in  any 
way  it  has  likewise  been  a  benehciary 
of  it  to  an  extent  that  malees  it  difficult 
for  the  mstitution  to  repay  its  obligation  to 
the  artists.  So  generous  have  they  been 
m  the  exhibitíon  of  their  canvasses  that 
the  gallenes  are  never  without  interesting 
displays  of  recent  work. 

"The  people  of  New  México  have  a 
priceless  opportunity.  Here  passes  be- 
fore  their  eyes  from  day  to  day  and 
year  to  year  a  panorama  of  the  esthetic 
efforts  of  a  characteristic  group  of  artists 
whose  works  are  challenging  the  inter- 
est  of  the  whoje  country.  The  Museum 
extends  its  pnvileges  to  al!  who  are 
working  with  a  serious  purpose  m  art. 
It  endeavors  to  meet  their  needs  for  a 
place  of  exhibition  and  as  far  as  possible 
offers  studio  facilities,  as  tables  are  furn- 
ished  to  visitmg  wriiers,  laboratories  to 
scienrists  and  the  hbrary  to  readers  and 
mvestigators.  The  artist  is  the  judge  of 
the  htness  of  his  work  for  presentation  to 
the  public  to  the  same  extent  that  the 
speaker  is  who  occupies  our  platform. 
Both  are  conceded  perfect  freedom  of 
expression  within  the  limits  of  common 
propnety. 

"The  Museum  seeks  to  reflect  what  is 
passing  in  the  mmds  of  the  artists  who 
are    working    in    this     environment.      It 


wanls  to  put  before  the  public  in  the 
most  favorable  light  possible  a  view  of 
the  art  (hat  is  being  produced  in  the 
Southwest,  to  promote  education  in  art 
by  affording  an  opportunity  to  see  all 
phases  of  modern  work.  The  Museum 
ihus  becomes  a  forum  for  free  artistic 
and  intellectual  expression,  and  must 
accurately  reflect  the  cultural  progress 
of  our  time. 

'If  Modernism.  Ultra- Modernism,  Im- 
pressionism,  Post-lmpressionism,    Expres- 
lon.sm  or  any  other  phase  of   esthetic  en- 
dfavor  appears  to  predominate  in  the  ex- 
hibitions  at  any  given    rime  it   is    merely 
an  evidence  of  an  exuberance  which    no 
one  will  condemn  but  on  the  contrary  will 
sincerely  welcome.      Whether  it  lasts  or 
not  will  probably  depend  upon    its  spint- 
ual^   soundness.      The    casual    likes    and 
dishkes  and  prejudices  of    individual-^  af- 
fect  the  matter  but    little.      Out    of    this 
strong  flow  of  impressions,  emorions,    stri- 
vings,    of    men    and    women,    who     are 
painring  and    wriring    in    New    México 
there    will     come     the    pictures,     songs, 
poems,  and  dramas  that  will  immortalize 
the     strength,     beauty,    and   life  of   our 
Southwest.      It     is      a      noble      service. 
Time  is  the  sure  test  of  art.      The    ave- 
rage   individual    merely    likes    what    he 
knows  at    the    present,     which    is    little 
enough.  and  time  is  required  for    educa- 
tion.    Especially  should   the    expressions 
of  the  spiritual  life,  painring,  poetry,  mu- 
sic.  sculpture,  be  given  the    most  cordial 
hearing  with  every  beneht  that    rime    af- 
fords for  the  development  of  understand- 
ing  on  our  part. 

"America  is  eminent  in  material  ways, 
and  poor  in  estheric  culture.  Therefore 
it  would  seem  that  particular  encourage- 
ment  should  be  extended  to  the  work- 
ers  in  the  held  of  crearive  esthetics. 
Our  hope  is  to  hold  out  such  a  hospit- 
able  welcome  that  artists  and  writers  and 
scienrists  will  conrinue  to  hnd  in  Santa 
Fe  a  congenial  home.  That  this  has 
been  partly  realized  was  voiced  by  Rob- 
ert  Henri  in  a  personal  letter  in  which 
he  says  in  speaking  of    Santa  Fe:    'Here 


14 


EL     PALACIO 


IN  PUEBLO  LAND 
By  Gerald  Cassidy 


pamters  are  treated  with  that  welcome 
and  appreciation  that  is  supposed  to  exist 
only  in  certain  places  m  Europe.'  If 
anything  occurs  lo  mar  that  happy  im- 
pression  it  will  not  in  any  sense  express 
the  feeling  oí  the  people  of  Santa  Fe. 
It  is  their  desire  to  become  as  favorably 
known  for  their  intellectual  tolerance  as 
they  have  long  been  for  their  domeslic 
hospitality.     Santa   Fe    is    begmning    to 


enjoy  preeminence  in  some  enviable 
ways.  It  is  sometimes  spoken  of  as  the 
intellectual  capital  of  the  Southwest  to 
its  región  what  Alexandria  was  at  its 
age.  This  is  high  dislinction,  vvhich  to 
maintain  calis  for  toleration  and  genero- 
sity  and  genuine  friendly  interest  in  all 
the  efforts  that  are  contributing  to  this 
good  fortune."  Director  Edgar  L.  Hew- 
ett  in  his  Annual  Report  for  1920. 


EL    PALACIO 


15 


ART  EXHIBIT  AT  SALT  LAKE  CITY 


The  following  is  the  list  of  paintings 
representative  of  New  México  art  and 
artiáts  which  will  be  on  exhibit  during 
the  National  Convention  of  the  Federa- 
tion  of  Womens  Clubs  at  Salt  Lake  City 
June  I  3th  to  I  8th: 

Taos  Society  of  Artists. 

Berninghaus,  O.  E.: 

People  of  Taos. 

Baseball  Carne,  Taos. 
Blumenschein,  E.  L.,  A.  N.  A.: 

New  México. 

Cottonwoods. 
Davey,  Randall: 

Indian  Dog  Dancer. 
Dunton,  W.  Herbert: 

Sioux  Winter  Camp. 

Honey  Moon. 

White  Horse. 
Henri,  Robert,  N.  A.: 

Gregorita  with  Santa  Clara   Bowl. 

Little  Indian  Girl. 

Little  New  México  Maid. 
Higgins,  Victor,   A.  N.  A.: 

Taos  in  Winter. 

The  Grey  Gate. 
Nordfeldt,  B.  J.  O.: 

Eagle  Dance,  Tesuque. 
Phillips,  Bert: 

The  Chief  Waits. 
Sharp,  Joseph  Henry: 

Taos  Mountam  and   Rabbit  Brush. 

The  Red  Olla. 
Sloan,   John: 

The  Matachma  Dance. 

Harveát  Dance. 
Ufer,  Walter,  A.  N.  A.: 

Noon. 

Frucftuation. 

Gathering  Herbs. 

Santa  Fe  Society  of  Artiáls. 
Paifttings  by  artiáís  m  Santa  Fe  and 
vicinity. 


Bakos,  Joseph: 

Pajarito  Plateau. 

Rito  de  los  Frijoles. 
Burlia,  Paul: 

Cattle  at  Real. 

Sacristán  of  Trampas. 
Baumann,  Guátave,  (Wood  block  prints): 

The  Aspen  Pool. 

Apple  Blossoms. 

Aspens. 

Rio  de  Pecos. 
Cassidy,  Gerald: 

Desert  Showers. 

Indian  Trail. 
Crow,  Louise: 

The  Black  Mesa. 

The  Red  Pine. 

Agapito  of   San   Ildefonso   Pueblo. 
Chapman,  Kenneth,  (Series  of  drawings): 

Study  of  Decorations  from  Pueblo 
Indian  Pottery. 
Davey,  Randall: 

The  Spanish  Dancer. 
Henderson,  William  Penhallow: 

Little  Siáter. 

Iris  and  Poppies. 

La  Tienda  Rosa. 

Snow,  Santa  Fe  Canyon. 
Kihn,  Willard    L.,   (Drawings  in    Polo- 
chrome  Pencil): 

Juanita  Acoma  Pueblo. 

José  Laguna  Pueblo. 

Lucy  "  " 

Maria  "  " 

Angus  BigTree   Casa  Blanca  Pueblo 
Murk,  W.  E.: 

Aspens  and   Pines. 
Nordfeldt,    B.  J.  O.: 

Under  the  Portal. 

House  m  the  Canyon. 

Hills  and  River. 
Parsons,  Sheldon: 

Winter,  Santa  Fe. 

March,  Santa  Fe. 


16 


EL   PALACIO 


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SANTIAGO   NARANJO 
By  Julius  Roishoven 


The  Golden  Screen. 

In  the  Foot  Hills,  Santa  Fe 
Pearson,  Ralph,  (Etching): 

Taos  Pueblo. 

Oíd  Church  at   Ranchos 

Duran  Chapel. 

Talpa. 

Card  of  Book  Plates. 
Phillips,  Bert: 

Musicians  of  the  Baile. 


Rollins,  Warren  E.: 

Thrall  of  the  Paát. 

Moonlight,  Santa  Fe. 

Oraibi. 
de   Taos.       Rush,  Olive: 

The  Visitor. 
Sharp.  J.  H.: 

Alberto. 
Schuáler,  Will: 

The  Pottery  Maker. 


EL    PALACIO 


16a 


MY     FfllEND 
By  the  iate  Donald  Beauregard 
(lu  ihe  Beauregard  Memorial  Gallery) 


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EL     PALACIO. 


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EL   PALACIO 


LAND    OF     THE    ANCIENTS 

By  Gustave  Baumann 


EL     RITO     DE    LOS     FRIJOLES 

By  J.  G.  Backos 


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EL     PALACIO 


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EL    PALACIO 


I6í 


THE    ALTAR     OF    THE     GODS 
By  W.  E.  Rollins 


I6f 


EL  PALACIO 


EL   PALACIO 


EL    SANTO 

By  Marsden  Hartley 
(Property  of  ihe  Museum) 


6h 


EL    PALACIO 


THE     LOMA 

Ev  Lcon  Kroü 


SIEVING   WHEAI' 
By  Will  Schuster 


El.  PALACIO 


TVlora. 

Tempeátuous  Tiempo. 
Acierra,  Carlos: 

Early  Morning,  Jemez  Puebla 

Water  Color  Drawings  by  Pueblo 
ludicuis. 
.Fred  Kabotie: 

Mountain  Sheqp  Dance. 

Anclen  t  Peace  Dance. 
Awa-Tsireb: 

Thunder  Dance  Procession, 

Eagle  Dcince. 
Velino  Shije; 

Buffalo  Dance,  Áva. 


PERSONAL  MENTION 


Dealh  of  a  Lite  Member, 

Honorable  T  bomas  B.  Catron,  for- 
merly  United  States  Senator  from  New 
México,  and  vvbo  took  an  intense  ínteres! 
in  the  activities  of  tbe  Schooj  of  Amen- 
can  Researcb  and  iKe  Santa  Fe  Society 
of  the  Arcbaeologicai  Inátilute,  of  wbich 
he  was  a  life  member,  died  on  May  1  5  th 
in  bis  eighty-firát  year.  Senator  Calron 
was  of  scholarly  taátes  and  a  lover  of  art. 
His  Santa  Fe  borne  was  filled  witb  many 
objects  of  artislic  intereát  and  for  a  sbort 
time  be  loaned  to  tbe  Museum  for  ex- 
bibit  a  number  of  paintings  from  bis 
eolleclion-  He  also  gave  tbe  Museum 
bis  library  of  Mexicana  and  New  Mexi- 
cana, part  oí"  wbicb  had  been  known  as 
tbe  Fiscber  Library  and  bad  been  pur- 
cbased  after  a  report  on  it  by  the  late 
Adolph  F.  Bandelier. 


PAINTING  AND  5CULPTURE 


Muráis  by  Burlin. 

The  decorations  by  Paul  Burlin  of  tbe 
Santa  Fe  art  circle  in  tbe  residence  of 
George  A.  Harris,  New  York  City,  are 
pictured  and  described  in  tbe  most  recent 
number  of  "Tbe  Arts."  Tbe  article  is 
by  tbe  editor  of  tbe  magazine    and  the 


three  panels  reproduced  in  baff  tone  are 
"Stone  Age."  "Rapsody"  and  "Awaking." 
in  conclusión  tbe  editor  says;  "On  tbe 
weáí  side  not  far  from  the  96tb  street 
étation  of  the  subway  there  is  a  bome 
wbicb  has  much  in  it  to  intereát  the  lover 
•of  mociern  art.  It  is  not  my  purpose  to 
^write  of  the  colleétions  which  are  exterr- 
■sive — I  shall  only  write  of  tbe  dining  room, 
wbicb  has  as  its  decoration  oak  panelling 
around  tbe  room  Above  tbe  panel 
iwhich  is  about  as  high  as  a  tall  man  can 
reach,  there  runs  a  painted  fneze  about 
two  feet  high.  by  Paul  Burlin  Although 
the  work  is  not  definitely  cubistic.  Burlin 
has  been  influenced  by  cubist  art,  as  was 
Arthur  B.  Davies  m  the  roora  \*'hicb  he 
decorated  so  successíully.  There  is  in 
the  work  of  the  great  Florentine  decora» 
tors,  espeaally  in  the  work  of  Piero 
Delta  Francesca,  much  wbicb  is  a  km  to 
cubiát  masters,  Paul  Burlm  has  felt  how 
íitted  to  decorative  purposes  it  is.  With 
a  fine  sense  of  rbythm  and  harmony  be  has 
woven  patterns  wbich  íill  the  spaces  ad- 
mirably.  Tbe  subject  matter  of  the  dec- 
orations is  taken  from  tbe  life  of  píimitive 
man  and  the  forms  suggest  tbe  fullness 
and  ricbness  of  that  life.  As  decoration. 
Burlin  s  work  is  wholly  satisíactory." 

International  Exhibit  Prizes. 

At  the  twentieth  annual  inlernalional 
exhibition  at  the  Carnegie  Inátitute  in 
Pittsburgh,  a  landscape  entitled  "Vanish- 
ing  Miát"  by  Erneál  Lawson,  of  New 
\  ork,  was  given  ftrát  pnze»  a  gold  medal 
and  $1500.  The  second  prize,  a  silveí 
medal  and  $  1  000  went  to  Howard  Giles 
of  New  York,  who  oífered  a  painting 
entitled  "Young  Woman."  The  "Girl 
witb  Green  Hat,"  painted  by  Eugene 
Speicher  of  New  York,  receiVed  tbe 
third  prize,  a  bronze  medal  and  $500, 
Honorable  mention  was  made  of  the  fol 
lowing  paintings:  "A  Spring  Evening"  by 
R.  J.  E.  Mooney  of  London,  "The  Ru- 
ined  Caátle"  by  Sidney  Lee  of  London, 
and  "The  Oíd  Fisherman"  by  Ross  E. 
Moífatt  of  Provincetown,  Mass. 


EL     PALACra 


TAOS  PYRAMID 

By  F.  I.  Sacha 


GiFTS,  Bequests,  Prizes 


Award  of  Science  Medals. 

At  ihe  annual  dintier  of  ih'^  National 
Academy  of  Sciences  the  followind  med- 
als were  presentedr  To  Df.  Charles  D. 
Walcott,  secretary  Smithsonian  Inálitulion, 
the  Mary  Clark  Thompson  medal  for  dis- 
tifiguished  achieVement  in  Paleontologv. 
To  Albert  the  First,  Prince  of  Monaco, 
the  AleXander  Agíissiz  gold  medal.  To 
Dr.  P.  Zeeman  the  Henry  Draper  gold 


medal.  To  Rear  Admiral  C.  D.  Sigs- 
bee  the  Agassiz  gold  medal.  To  Dr, 
Robert  Ridgway  the  Daniel  Giraud  El- 
liot  gold  medal.  To  Dr.  C.  W.  Stiles 
the  public  welfare  gold  medal. 

Legislative  Grants. 

Because  of  the  inadequacy  oí  the  ap- 
propriation  to  the  Bureau  of  Fisheries  for 
scientiíic  vvork,  the  noted  laboratory  at 
Woods  Hole,  Mass.,  will  be  closed  dur- 
ing  the  summer.  The  legislature  of  New 
York  has  appropriated  $1,350,000  to 
the  College  of  Agnculture  of  Comell  Uni- 


EL  PALACIO 


19 


■versity.  The  North  Carolina  Jegislalure 
has  granted  the  University  of  North  Car- 
olina $925,000  as  a  two  years  mainte- 
'nance  fund  and  $1,490,000  for  per- 
manent  improvements  for  iwo  years. 


EXHIBITS  AND  CONVENTIONS 


American  Art  m  London, 

A  recent  number  of  "The  Living  Age" 
speaks  as  follows  of  the  exhibit  of  Amer- 
ican pamters  in  London:  "The  exhibition 
of  contemporary  American  art  at  the 
Grafton  Galleries  maintained  by  Mrs. 
Harriet  Payne  Whitney,  ihe  Sculptor,  has 
atfracted  a  good  deal  of  attention  in  Lon- 
don. French  mflu^nce  predomínales  in 
the  pictures  displayed,  most  of  the  exhib- 
iting  painters  having  átudied  in  Paris. 
Mr.  Paul  Buílin  bases  much  of  his  art  on 
Picasso  and  Mr.  Maurice  Sterne  has  ac- 
cepted  the  teaching  of  the  French  poál 
impressiomáts.  British  critics  although  ad- 
mittmg  that  the  general  level  of  technique 
is  quite  as  high  as  it  would  be  m  a  Brit- 
ish exhibit  of  the  same  type,  profess  to 
find  m  it  subtlety  rather  than  ¿trength  and 
a  want  of  sponlaneity  and  real  feeling 
which  recalls  the  overripeness  of  Parisian 
art  of  the  laál  quarler  of  a  century.  Mr. 
George  Bellovvs  exhibits  a  landscape 
'Eaéter  Sunday'  and  his  famous  'Murder 
of  Edith  Cavell.'  Ahhough  the  criticof 
the  London  Observer'  regards  this  as  a 
'capable  enough  piece  of  painting,'  Claude 
Phillips  of  the  Daily  Telegraph'  describes 
it  as  an  'elabórate  piece  of  melodrama,' 
while  Mr.  Shane  Leslie  in  the  'New 
Witness'  asserts  that  it  is  'nothing  more 
than  a  highly  vvrought  and  effetftive  Rae- 
maker.' " 


!N  THE  FIELD  OF  SCIENCE 


announces  an  examinátion  for  assislant 
curator  of  tlie  National  Museum  at 
$1800.00  a  year,  with  bonus  of  $240. 
annually.  The  examinátion  will  take 
place  on  June  22nd  ata  large  number 
of  points  in  the  United  States  including 
Santa  Fe.  Both  men  and  women  may 
qualify  and  must  have  reached  their 
twentieth  but  not  their  fortieth  birthday. 
Applicants  must  submit  their  photo- 
graphs  and  apply  on  a  form  prescnbed 
by  the  Commission.  They  should  have 
a  fair  elementary  knowledge  of  biology, 
as  the  duties  of  the  position  consists  in 
the  preparation  of  fossils  for  the  study  of 
paleontologists. 


GALLERIES  AND  MüSEUMS 


Exhibits  at  Rochester, 

Dunng  April.  according  to  a  cata- 
logue just  received,  the  38íh  annual  exhi- 
bition of  the  Rochester  Art  Club  and  of 
paintings  by  Jerome  Myers  of  the  Nat- 
ional Academy,  took  place  m  the  Mem- 
orial Art  Gallery  of  Rochester,  NeW 
York,  succeedmg  an  exhibition  of  paint- 
ings  and  etchings  by  Haylay  Lever, 
paintings  by  Leopoldo  Mariotti,  and 
etchmgs  and  lithographs  b>  Herbert 
Pullitiger. 


MUSIC  AND  DRAMA 


Examinátion  for  Paleontologist. 

The  U.  S.  Civil    Service    Commission 


New  to  Musical  Fame. 

Claims  to  pre-emmence  in  the  field  of 
culture  are  often  based  on  very  peculiar 
foundations.  The  "Tampico,  México, 
Tribune"  announces  gleefully  that  "Tam- 
pico is  a  musical  center"  because  a  local 
novehy  company  "sold  out  a  shipment  of 
300,000  phonograph  needles  in  two 
weeks." 


20' 


EL    PALACra 


JUANITA  ANO  THE  BREAD  JAR 

By  Víctor  Higgins,.  A.  N..  A, 

The  Sun  God 


Rose   HencTerson  of  tke   New  México  ArcFiaeofogicaE 
Society  ín  June  "Everybody  sJ' 

TnHE  gray  dawn  reddens,.  and  tFie  freshening  windi 

Marshalls  the  clouds  across  the  mountain  spires.. 
A  light  flames  skyward  where  the  mist  has  thmned^ 

Like  Hfling  smoke  above  oíd  altar  fires. 
The  canyon  pmes  low  murmur,  and  the  hush 

Of  shifting  sands  amid  dry  desert  grass,, 
The  far-off  chanting  of  the  hermit  thrush,. 

The  splash  of  waters  in  the  rock-strewn  pass.. 

Then  the  sun  s  rinr  above  the  kneeíing  hills, 

The  mounfing  spiendor  and  the  melting  blue:. 

The  radiant  whiteness  of  the  Jesert  fill? 

With  glistening  folds  the  far  nofcheJ  mesa  vievc 

And  gloriously  the  golden  presence  thrills 
The  waiting  earth  to  ecilacy  anew- 


EL    PALACIO 


2i 


IT  IS  WRITTEN 


"Oíd  Time  New  England." 

"Oíd  Time  New  England,"  the  peri- 
odical  publicalion  of  the  Society  for  the 
Preservation  of  New  England  Antiqui- 
lies,  m  its  latest  issue  has  for  its  leading 
arricie  a  monograph  by  John  Robinson 
-of  the  Peabody  Museum  ai  Salem, 
Mass.,.  on  "Old-Time  Nauticcil  Instru- 
ments." Alexander  P.  Rogers  contri- 
butes  "Some  Notes  on  Richard  Clark,  of 
Boston,  and  the  Copley  Portraits  of  His 
Family."  The  article  is  illustrated  with 
an  engravmg  reproducing  the  family 
group  as  on  exhibit  in  the  Museum  of 
Fine  Arls,  Boston.  The  rest  of  the 
number  is  given  mamly  to  an  account  of 
ihe  I  I  th  annual  meetmg  of  the  Society 
held  m  Boston  and  the  report  of  the  cor- 
responding  secretary  on  the  manifold 
activities  of  the  Society  in  preserving  the 
historie  land  marks  of  New  England. 

"Asia"  for  June, 

"Asia"  for  June  is  given  mostly  to 
China  and  Korea,  although  L.  Adams 
Beck  contributes  "Java — and  Her  Sto- 
ry,"  and  C.  E.  Andrews  furnishes  the 
translahon  of  five  Berber  songs.  The 
duotone  inserts,  more  beautiful  than 
ever,  and  eight  in  number,  are  entitled 
"Every  Day  Koreans."  The  photo- 
graphs  from  which  they  are  taken  are 
superb.  Among  the  more  striking  ti- 
lles are:  "My  Chinese  Marriage,"  "Up  a 
Tree  in  the  Jungle,"  "Saving  China," 
"Pilgrim  Pass  in  the  Lama  Country," 
"Shoes  of  Asia,"  "Long  Shots  from  the 
Mala  Kula  Bush,"  "Taming  the  Yellow 
River,"  and  "On  the  Famine  Front  in 
Shantung,"  all  of  them  beautifully  illus- 
trated. 

"Sea-Lilies  and  Feather-Stars." 

"Sea-Lilies  and  Feather-Stars,"  with 
1  6  píales,  by  Ausrin  H.  Clark,  has  just 
been  issued  by  the  Smithsonian  Insritu- 
tion  and  treats  of  these  modern  repre- 
sentatives  of    the    crinoidea.      Says     the 


author  in  his  preface:  "Tlieir  delicate, 
distincüve,  and  beauriful  form,  their  rar- 
ity  in  collections,  and  the  abundance  of 
similiar  types  as  fossils  in  I  he  rocks  com- 
bined  to  set  the  recent  crmoids  quite 
apart  trom  the  other  creatures  of  the  sea 
and  to  cause  them  to  be  generally  re- 
garded  as  among  the  gresrtest  curiosihes 
of  the  animal  kingdora.  They  have  us- 
ually  been  considered  as  the  rare,  cur» 
ious  and  decadent  reranants  of  an  ínter- 
esting  animal  type  once  important  but 
now  trembhng  on  the  verge  of  extinction, 
and  it  is  from  this  melancholy  viewpoint 
that  they  are  discussed  in  practically  all  the 
text-books.  The  discoveries  of  the  last 
few  years  have  shown  that  livmg  cnnoids 
far  from  being  rare  or  few  in  numbers, 
are  abundant  both  as  individuáis  and 
species,  and  that  in  all  localities  where 
the  somewhat  exactmg  conditions  under 
which  they  can  exist  are  met  they 
occur,  sometimes  in  enormous  numbers." 
The  author  says  that  there  are  at  pres- 
ent  576  described  species  of  cnnoids, 
of  which  500  species  belong  to  the  un=- 
staiked  species.  The  raemoir  is  em- 
bellished  with  one  half-tone  píate  and 
quite  a  number  of  other  plates  made 
from  drawings  and  covers  some  sixty  pages. 

Museum  Work  for  May. 

A  double  number  of  "Museum  Work" 
for  April-May  is  from  press,  The  front- 
ispiece  is  a  portrait  of  the  late  Dr.  Fred- 
erick  J.  Skiff,  Director  of  the  Field  Mu- 
seium  of  Chicago  for  many  years.  In 
addirion  to  Museum  news  notes,  this  is- 
sue  has  the  following  articles:  "A  Museum 
of  Fine  Arts  in  Utopia,"  by  Huger  El- 
liott;  "The  Reading  Public  Museum  and 
Art  Gallery,"  by  its  Director,  Levi  W. 
Mengel;  "Regional  Commercial  and  In- 
dustnal  Exhibits  in  Museums,"  by  Ralph 
L.  Power,  Curator  of  the  Commercial 
Museum  of  Boston  University;  "Exhibi- 
tion  Furniture  Used  by  the  United  States 
Department  of  Agriculture,"  by  Dr.  F. 
Lamson-Scribner,  and  "Cinema  Micro- 
scopy  Invaluable  in  Teaching  Biology," 
by  Charles  F.  Herm. 


11 


EL   PALACÍO 


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Pennsyivama  Museunr  Journal, 

The  Museum  Journal,  published  quar- 
trrly  by  the  Uriiversity  Museum  of  Phil- 
adelphia,  and  devoted  to  art  andscience, 
has  just  issued  its  first  number  for  the 
currerlt  year.  hs  80  pages  are  pnnted 
on  heavy  plated  papar  and  ú  is  beauti 
fully  illuslrated  in  color  and  in  half-tone. 
Among  (he  moi'e  notable  anieles  are 
the  followifig:  "A  Book  of  Tapa,"  the 
article  being  illustrated  with  Samples  cUt 
(rom  speciniens  of  the  baik  cloth  collect- 


ed  by  Coolc,  the  Australian  exptorer; 
"The  Use  of  Metals  in  Prehisíoric  Amer- 
ica," which  is  also  illustrated  with  a  col- 
or píate  and  half-tone;  "A  Golden 
Hoard  from  Ecuador,"  descnptive  o( 
the  fine  collection  of  prehistoric  Amer- 
ican Indian  gold  objects  from  the-  South 
American  republic,  installed  m  the  Penn- 
sylvania  University  Museum;  "The  Ul- 
ua  Marble  Vases,"  illustrating  and  de- 
scribing  a  group  of  marble  vases  from 
Honduras,  and   incidentally     commenting 


EL  PALACIO 


23 


verv'  sKarply  on  an  arlicle  by  Mrs.  Zel- 
la  Nuttall  published  in  "Art  and  Arch- 
aeology"  at  the  beginning  of  this  year. 
A  new  fragment  of  chronology  írom 
Babylonia  is  reproduced  from  a  clay  tab- 
let  aíid  deciphered. 


PERSONAL  MENTION 


Visit  of  Mary  Heaton  Vorse. 

Mary  Heaton  Vorse,  the  author  of 
"Men  and  Steel,"  spent  a  week  during 
May  as  the  guest  of  Mr.  and  Mrs.  B. 
J.  O.  Nordfeldt  in  Santa  Fe.  She 
spoke  very  enthusiastically  of  the  Mus- 
eum  and  its  work  as  vvell  as  of  the  at~ 
Iractions  of  Santa  Fe.  It  was  her  hrsl 
visit  to  the  Southwest,  and  she  declares 
ihat  she  carne  mainly  on  the  urging  oí 
Mr.  John  Sloan  oí  the  Santa  Fe  Art 
Colony  and  upon  the  invitation  of  Mr. 
and  Mr?.  Nordfeldt.  Mrs.  Vorse  is  the 
author  of  a  nurnber  of  novéis  as  well  as 
of  a  nurnber  of  shorl  stories,  the  latest 
of  which  appears  in  the  "The  Woman's 
Home  Ccmpanion"  for  May  and  June, 
her  childhood  studies  m  that  magazine 
being  especially  attraclive  to  many  readers, 

Blumenscheins  in  Santa  Fe. 

Mr.  and  Mrs.  E.  L.  Blumenschein 
and  daughter  vvere  in  Santa  Fe  for  sev- 
eral  days  dunng  May  on  their  way  over- 
land  in  their  own  automobile  írom  Den- 
ver  to  Taos,  where  they  have  their  sum- 
mer  residence.  Mr.  Blumenschein 
promised  to  exhibit  his  latest  paintings 
at  the  Museum  this  summer  beíore 
sendmg   them  east. 


EXHIBITS  AND  COLLECTIONS 


Cassidy  Exhibit  at  Boston. 

Gerald  Cassidy  has  just  closed  an  ex- 
hibit in  Boston  under  the  auspices  of 
Harold  B.  Eaton,  a  well  known  collector 
and  dealer,  as  well  as  connoisseur  in  art, 
who  recently  visited  Santa  Fe.  Mr.  Cas- 
sidy sent  not  only  his  landscapes  and  in- 
dian  portraits,  but  also  historical  and  gen- 


re  paintings  typical  of  the  Southwest, 
Three  presentations  of  the  Penitente  cer- 
emonies  a?  they  are  staged  m  Southern 
Colorado  and  many  parts  of  New  Méxi- 
co are  especially  powerful,  Mr.  Cassidy 
treats  them  írom  a  historical  and  sympa- 
thelic  standpoint  and  seeks  to  bnng  out 
ihat  in  their  intent  thay  appeal  to  religious 
emotions  for  which  the  entire  world  should 
feel  reverence. 

Summer  School  al  Woodstock. 

The  Art  Students  League  of  New 
York  has  sent  out  announcements  of  its 
summer  school  at  Woodstock  from  June 
i  5th  to  Ocíober  1 5ih.  The  League 
also  announces  its  winter  term,  which 
will  open  on  October  3rd  and  cióse  May 
27th  next  year.  On  the  list  of  instruc- 
tors  are  again  included  Robert  Henri  and 
John  Sloan,  so  well  known  in  Santa  Fe. 
Mr.  and  Mrs.  Sloan  expect  to  bein  San- 
la  Fe  to  take  possession  oí  their  home 
again  early  m  June. 

Gift  to  Pennsylvania, 

The  Pennsylvania  Stale  College  has 
received  as  a  gift  from  the  children  oí  the 
late  J.  Roberts  Lowrie  his  herbarium 
comprising  2750  mounted  varieties. 


PAINTING  AND  SCULPTURE 


Paintings  by    ndians. 

"Museum  Work"  for  May  has  the 
following  note  of  interest  to  frieuds  of  the 
Museum  of  New  México:  An  interest- 
mg  section  at  the  annual  exhibition  of  the 
Society  of  Indenpendent  Artists  in  New 
York  was  a  group  of  paintings  by  In- 
dians  representing  the  ceremonial  dances 
of  the  Indians  cf  the  Southwest.  A 
few  of  these  were  lent  last  year  by  the 
Art  Museum  of  New  México  at  Santa 
Fe  and  were  so  well  received  that  the 
exhibit  was  extended  this  year.  The 
clear,  simple  colors  and  child-like  dia- 
gramatic  drawing  were  refreshing  to 
find  among  the  moderns.  The  Inde- 
pendents  claim  that  these  Indian  paintings 
are  the  greatest  artproduced  in  Amenca 


24 


EL    PALACrO 


JUAN 
By  Kathetine  Dudley 


ánJ  ate  closeíy  aíliea  (O  fíieír  own  work. 
This  group  oí  drawmgs  i$  now  on  exhibit 
¡n  ihe  Museum  al  Sania  Fe. 

Rolshoven's  Great  Indian  Pamfiflg. 

"Tothe  LarxJof  Sip-o-Phe."  the  nota- 
ble paintingof  heroic  size  by  Julius  Roisho- 
ven  of  the  Santa  Fe-Taos  Art  Colonies.  is 
on  exhibit  at  present  al  John  Wanamaker  s 
in  New  York  Cily.  Says  one  critic:  "Tbe 
piclure  is  superbly  showfi  at  Wanamaker's. 
Huncireds  stand  before  the  piclure  m  si- 


lence  and  nof  p~assing  by  as  ís  generalíy 
the  case  wilh  art  exhibits."  Wanama- 
kers  had  printed  an  attractive  folder 
explaming  the  fhenrve  o(  the  painting, 
which  was  ftrsl  exhibited  in  the  Museum. 
of  New  México.  Mr.  and  Mrs.  Rols- 
hoven,  who  ha  ve  been  away  the  past 
year  and  more,  spending  most  of  their 
time  in  their  villa  at  Florence,  Italy.  are 
at  present  in  New  York  City  and  are  ex- 
pected  m  Santa  Fe  this  summer. 


EL    PALACIO 


25 


STILL    LIFE 


íT^OLD  clear  dawn  on  a  world  that  wakes  (rom  huddled  sleep— 

A  wide  windovv  sÜl  hfted  twelve  inches  to  let  in  the  day, 
•Six  feet  from  my  pillow  at  six;  white  slcy,  shadow  cultures  below 
tn  a  long  obloitg  microscops  slide  that  daybreak  slowly  íocusses. 

Siatic  iminensities  emerge  through  the  long  blue  proíile  of  the  main  ranga, 
Sloping  slowly  to  the  right  in  a  sky  line  that  sings  and  cannot  cease. 
Blue  gray  valleys  of  shadow  and  snow  beyond  grow  more  beautiful, 
Below  the  low  biown  adobes  flatten  froáled  roofs  in  parallel  planes. 

Leafiess  trees  átenciled  on  the  sky  line  hft  to    the  levéis  of  a    massive    of    moulded 

mountciin  tops, 
Forming  a  net  work  for  fancy  that  waits  íor  birds  winging  back,  singing  spring  — 
Nests  growing  warm,  living  leaves  of  emerald  cells  netting  togetherin  new  blue  Apii! 

weather. 
Those  frozen  fringes  sway  ever  so  little,  as  a  cool  breeze  starts  to  eddy  and  stif. 
One  black  bird,  drifting  down  dawn,  lights  on  a  bare  bough;  and  the  sap   stirs  un- 

demeath. 


John  Curtis  Underwood, 


Santa  Fe. 


4   16  21 


IT  IS  WRITTEN 


Histories  of   México. 

Two  publications  of  entirely  different 
character,  but  both  relatmg  to  the  history 
of  México,  have  come  to  the  desk  of  "El 
Palacio."  One  is  a  monograph  by  Paul 
Radin,  for  several  years  a  resident  of 
Santa  Fe,  but  of  late  on  the  staff  of  the 
üniversity  of  California,  and  is  entitled 
"The  Sources  and  Authenticity  of  the 
History  of  the  Ancient  Mexicans."  The 
other  is  by  Dr.  Herbert  I.  Pnestiy,  also 
of  the  Üniversity  of  California,  and  is  en- 
titled "Modern  Mexican  History."  The 
latter  is  Syllabus  No.  VI  of  the  Interna- 
tiona! Relations  Clubs  and  gives  a  com- 
prehensive  bibliography  as  well  as  study 
outline  of  Mexican  history  sifice  the  Span- 
ish  conquest.  The  Syllabus  is  divided 
into'fen  secrions  with  the  following  titles: 
"TheTerritory  of  México  and  the  People,'' 
"  TKe  Spanish  Colonial   Regime,   1319 


1810,"    "The    War    of    Independence. 

1810-21,"  "The  War  of  the  Reform 
and  the  French  Intervention,  1857-67," 
"The  Presidency  of  Porfirio  Diaz,   1876 

- 1 9  I  O,"  "The  Revolution  under  Made> 
ro,  1910-1913."  "Huerta  and  the  Uni- 
ted States.  1 9 1  3  1 9  I  4,"  "The  Govern^ 
mentof  Carranza.  19141920."  "The 
Petroleum  Controversy,"  and  finally,  "The 
Problem  of  the  Land."  Mr.  Radin's 
monograph  is  more  comprehensive  and 
exhaustive,  covering  as  it  does  I  50  prin- 
ted  pages,  with  an  appendix  of  piafes  and 
charts  relating  to  the  ancient  history  of 
México.  The  author  says:  "Tv^o  types 
of  sources  for  the  history  of  the  ancient 
Mexicans  exist:  the  actual  oíd  Indian  cód- 
ices, of  which  there  are  but  a  few  extant, 
and  the  works  of  Christianized  Indiana 
and  Spaniards."  He  then  proceeds  to 
describe  the  oíd  Mexicéuis,  dealmg  with 
aspects  of  the  ancient  culture.  He  quotes 
from  them  at  considerable  length.  in  fact 
such  as  the  Codex  Ramirez  giving  an  ac- 
count  of  the  origm  of  the  Indians  who  m- 


¿6 


EL   PALACia 


EL    RITO 
By  W,  E.  Murk 


habiíed  New  Spaín  and  also  sonríe  of  the 
oíd  legends  forming  part  oí  their  nvythol- 
ogy.  \n  summing  up,  the  writer  says: 
"^The  evidence  at  our  disf>osa!  spealcs 
against  any  fundamental  change  in  the 
form  of  the  government  having  taken 
place  toward  the  end  of  the  fourteenth 
century,  but  suggests  the  possibility  thal 
the  victory  against  Culhuacan  may  have 
enhanced  both  the  ¡mportance  and  the 
authority  of  the  chief;  especially  as  re- 
gards  his  war  powers."  He  íurther  saysr 
"The  vast  majority  of  the  features  of  Az- 
lec  culture  grew  up  and  developed  to 
maturity  some  50  to  100  years  before 
Montezumas  time-  There  is,  however, 
one  change  universaliy  ascribed  to  Mon- 
tezuma  which  it  scems  justiíiable  to  accept 
as  hir-  namely,  the  definite  change  of  the 
ruler  from  an  elected  chief  to  what  seems, 
lo  all  intents  and  purposes,  a  king.  To 
Montezuma  is  definitely  ascribed,  by  all 


our  sources,  the  disoHssaí  from  íiis  imme- 
diate  entourage  of  all  servants  and  follow  - 
ers  who  were  not  of  'noble'  birth.  The 
sources  also  make  it  quite  plain  that  Mon- 
tezuma was  here  brea  king  with  custom. 
and  the  accepted  order  of  things.'^ 

Anthropometry  by  Hrdlicka- 

The  Wistar  Institute  of  Anatomy  anJ 
Biology  has  published  "Anthropometry" 
by  Dr.  Ales  Hrdlicka.  who  is  one  of  the 
Regents  of  the  School  of  American  Re- 
search and  who  is  undoubtedly  the  mosl 
exF>enenced  and  competent  investigator  in 
physical  éinthropology.  As  a\\  of  hi« 
work,  this  monograph  of  163  pages,tis 
thorough  and  scholarlyand  to  the  student 
in  his  field  it  should  prove  invaluable. 
Says  "Science:"  "The  greatest  valué  of 
this  work  on  anthropometry  lies  in  the 
fací  fhal  it  represents  the  perfected  meth- 
ods  of  one  of  ihe   most   skilled   and   best 


FL  PALACIO 


iLl 


<qualifie8  practitioners  of  the  science.  Ex- 
perts  tnay  differ  as  to  the  valué  of  this  or 
ithat  measurement,  or  may  prefer  their  own 
technique  in  individual  cases,  but  this  book 
is  in  general  reliable  and  conclusive." 

^Amanean  Anthropologist. 

TTie  latest  number  of  the  "American 
Anthropologist"  gives  the  place  of  promi- 
:nence  to  Warren  K.  Moorehead's  "Re- 
cent Explorations  in  Northwestern  Tex- 
as." Other  contributions  are  "Notes  on 
Shell  Implements  from  Florida,"  by  Clai- 
ence-B.  Moore,  "Words  for  Tobacco  in 
.American  Indian  Languages,"  by  Roland 
,B.  Dixon,  and  "Notes  on  the  Stone  Age 
People  of  Japan,"  by  H.  Matsumoto. 
This  Rumber  contains  the  minutes  of  the 
American  Anthropological  Association 
Tneeting  at  Philadelphia.  Book  review^s 
and  discussion  and  correspondence  make 
up  the  rest  of  the  issue. 


GIFTS.  GRANTS.  HONORS 


to  Miss  Manan  Nevk^bigin;  the  Culhbert 
Peek  gfant  to  Captain  J.  B.  L.  Noel,  and 
the  Gilí  memorial  to  Lieutenant  Colonel 
M.. N.  MacLeod. 

Funds  for  Albany  College. 

A  maintenance  fund  of  $30,000  a 
year  has  been  assured  to  Albany  Medi- 
cal College  if  a  similar  amount  is  raised 
by  friends  of  the  institutioR. 

Liberal  Grants  by  Canada> 

The  Ontario  government  has  made 
grants  as  follows:  University  of  Toronto, 
$900,000;  Qijeen's  at  Kingston,  $325.- 
000;  the  Western  at  London,  $200.- 
000. 


Hecksher  Research  Grants. 

The  Hecksher  Research  Council  )ias 
announced  its  íirst  series  oí  grants  totaling 
$20,725  Cto  assist  research  w^orkers  in 
their  investigations.  The  consideration 
of  all  requests  for  grants  in  aid  of  publica- 
tion  has  been  postponed  for  the  time  being. 

Agassiz  Gold  Medals. 

The  Alexander  Agassiz  gold  medal 
was  formally  presented  to  Prince  Albert 
of  Monaco  in  recognition  of  bis  promotion 
of  oceanographical  research.  The  pre- 
sentation  wus  made  at  the  annual  meet- 
ing  of  the  National  Academyof  Sciences 
followed  by  a  reception  m  the  U.  S.  Na- 
tipaal  Museum. 

Royal  Geographical  Medals 

The  Royal  medals  of  the  Royal  Geo- 
graphical Society  have  been  awarded  as 
follows;  Founder's  medal  to  Mr.  Vil- 
hjalmur  Stefansson;  the  Patron's  medal  to 
General  Bourgeois;  the  Murchison  grant 
to  Commandant  Maury;   the  Rach   grant 


L^ 


MUSEUMS  AND  GALLERIES 


Indian  Basketry  Exhibit. 

An  exhibit  of  American  Indian  bas- 
ketry has  been  permanently  installed  in 
the  University  of  Pennsylvania  Museum. 
being  given  an  entire  room  in  the  east 
wing   of  the    Hrst  floor. 

Pupils  at  Museum  Lectures. 

14.000  pupils  of  the  Philadelphia 
schools  reserved  seats  for  a  course  oí 
illustrated  lectures  at  the  Pennsylvania 
University  Museum  which  began  oii 
March   1  6th. 

Gift  to  Museum  a*  Reading> 

A  collection  of  paintings  valued  at 
$50,000  has  been  presented  to  tlie 
Public  Museum  of  Reading,  Pennsyl 
vania.  by  Mrs.  William  Lyttleton  Savage 
of  Philadelphia.  There  aíe  60  paint- 
ings in  the  exhibit.  Many  of  them  are 
fine  specimens  of  the  Barbizon  School, 
although  the  Dusseldorf  and  other  schooU 
are  also  represented.  The  gift  is  a  me 
morial  to  the  parents  of  the  donor, 

Named  Paleobotanist. 

The   New    York    Botanical    Carden 
has  established  the  position   of    paleobot 
anist  and  Mr.  Arthur  Hollick    has    been 
appointed  to  fill  the  place.      He  will    ai- 
sume  his  duties  on  Juiy  first. 


2S 


EL    PALACIO 


GOD'S    COUNTRY 

By  Elizabeth  Shepley  Sergeant 


JT  ís  a  country  so  vast,  so  vaeant,  so 
austere,  so  impersonal,  that  at  first  sight 
its  whole  power  and  beauty  seem  to  be 
a  denial  of  the  power  and  significance  of 
man.  Stark  shapes  and  crude  colors  of 
naked  rock,  lifted,  strata  on  strata  into 
the  stark  sky;  rolling  height  of  mesas, 
nobly  leveled  above  the  deep  valleys  and 
below  the  snow  peaks;  yellow  neamess 
and  roundness  of  foothills  and  lomas, 
spotted  and  tufted  with  velvet-green  pin- 
yon  and  cedar — this  is  what  matters. 
This,  and  the  blue  flight  of  a  jay  across 
golden  desert  spaces,  the  fierce  bite  oí 
the  wind  oil  the  divide,  the  splash  of  the 
stream  in  the  arroya  as  your  horse  plung- 
es  through.  The  air  is  so  clear  and  dry 
and  briHiant  that  it  seems  like  light;  the 
light  so  fresh,  so  vivid,  so  everchanging 
that  it  seems  like  air:  they  blend  into  a 
common  element  in  which  you  are  purged 
of  all  human  concems. 

The  road  you  follow  is  no  more  than 
a  curving  shadow,  broMTi,  gray,  or  red 
that  vanishes  in  the  gray  of  sage  brush 
and  chamiso;  or  a  narrow  trail  cut  in  the 
solid  stone  which  the  muddy  Rio  Grande, 
far  below,  coiling  and  tuming  through 
the  ages,  has  hollowed  into  a  canyon. 
Soon  you  leam  to  leave  even  the  trails, 
heading  your  horse  straight  through  cac- 
tus and  pinyon,  straight  up  and  down 
broken,  barren  ridges,  which  no  man, 
you  imagine,  has  ever  explored  before. 
And  when,  írom  the  foothills  of  the  San- 
gre de  Cristos  you  look  down  on  Santa 
Fe,  "the  oldest  city  in  the  United  States," 
with  its  legislative  chambers,  its  archaeo- 
logical  museum,  its  literary  and  artistic 
circles,  you  see  only  a  tiny  cluster  of 
roofs  and  chimneys;  a  wreath  of  smoke 
which  your  eye  discards  to  follow  the 
mesa,  wide  and  purple  as  the  southem 
*ea.      The  mesa     wth    strange.    solilar)' 


mountains  like  dark  volcanic  isíands 
swimming  on  its  surface,  and  snowy  ridges- 
melting  into  the  interminable  sky. 

But  man  v^ll  not  let  you  alone,  even 
here.  There  are  only  400,000  human 
beings  in  all  the  122,000  square 
miles  of  New  México.  Yet  they  soon 
project  theniselves  into  the  picture. 
Straight  through  the  valleys,  along  the 
lower  spurs  of  the  mountciins,  the  "Am- 
erican" has  built  his  railroads.  His 
schools,  prisons,  churches,  stores,  ranch 
houses,  garages,  though  somewhat  in  the 
local  adobe  tradition,  are,  like  his  "state 
roads, "  conspicuous  for  a  certain  hardness 
and  modemity.  And  he,  too,  is  con- 
spicuous as  he  lopes  along,  tall  and  lanky 
cind  very  confident  under  his  sombrero, 
or  whizzes  by  in  his  Buick  or  his  Ford. 
In  the  sheltered  canyons  that  stretch 
down  like  so  many  fingersfrom  the  snow 
peaks  the  "Mexican"  —so  called,  though 
he  has  inhabited  the  land  for  several  hun- 
dred  years  and  knows  as  little  of  oíd 
México  as  you  or  1 — has  hidden  his  lit- 
tle ranches:  neat  rows  of  fruit  trees,  sur- 
rounding  flat-roofed  adobe  houses,  col- 
ored  red  or  gray  like  the  soil,  scarcely 
distinguished  from  it  but  for  an  indigo- 
blue  wandow  frame,  or  a  bunch  of  red 
peppers  strung  on  the  waíl.  The  dress 
and  manners  of  the  Mexican,  unobtrusive 
like  his  house,  have  the  same  dash  of 
Latín  color.  He  greets  you  with  a  smiling 
"buenos  dias"  as  he  jogs  along  on  his  bur- 
ro, and  draws  his  broad  beamed  white- 
topped  wagón-  where  his  wife  sits  be- 
sides  him  under  a  black  shawl  elegant- 
ly  draped— upon  an  angle  of  the  hill 
to  let  you  pass,  On  the  roads,  too. 
you  may  meet  a  wagon-load  of,Ind¡ans: 
men  wath  brown,  bitten  Mongolian  fac- 
es square-built,  remote  in  their  blankets. 
greeting  you  with     silent    dignity.      The 


EL    PALACIO 


29 


Jndian'5  adobe  pueblo,  thronged  and 
;humming  with  busy  life  -whether  it  be 
spread  out,  pastoral- fashion,  or  piled 
on  square  like  a  childs  block  house — 
always  occupies  an  admirable  site. 
Cióse  against  the  mountains  or  in  some 
:specially  protected  and  fertile  stretch  oí 
valley  he  built  it,  long  before  Spaniard 
■or  American  passed  this  way.  His  cin- 
•cestors,  he  says,  were  obliged  for  lacle  of 
water  to  come  down  from  the  cliffs. 
But  he  has  never  forgotten  his  lineal 
descent  from  the  ancient  people  whose 
deserted  homes  hoilowed  in  the  soft  yel- 
low  stone  on  the  southern  face  of  the 
xnountams  still,  from  on  high,  command 
this  incomparable  land. 

Sitting  against  the  hot  wall  of  such  a 
lonely  cliffhouse  the  other  day — a  house 
átill  plastered  and  colored  within,  smoked 
by  a  fire  extinguished  thousands  of  years 
ago  and  littered  with  fragments  of 
pottery  more  delicately  patterned  than 
any  that  the  Pueblos  now  produce  -vve 
were  stirred  by  the  persistence  of  that 
queer,  traditional,  changing  thing  called 
human  civihzation.  On  the  face  of  the 
giant  country  spread  below  us,  which 
bares  its  geologic  bones  so  dramatically, 
we  could  distinguish  the  scars  made  by 
the  patient  hand  of  man  as  clearly  as 
those  blazoned  by  dead  seas  and  extinct 
volcanoes:  three  "civilizations"  as  sharply 
differentiated  as  ihe  strata  of  the  rocky 
canyon  walls.  For  the  newest  state  m 
ihe  Union  is  by  a  strange  paradox,  built 
on  the  two  oldest  cultures  of  the  American 
contment;  and  by  another  paradox,  these 
cultures  are  stiil  almost  intact,  though  they 
have  existed  side  by  side  for  three  cen- 
tunes  and  have  been  incorporated  m  our 
republic  for  seventy  five  years.  Neither 
the  Spanish-Catholic  veneer  that  he  ac- 
quired  in  the  sixteenth  century  ñor  the 
fumbling  "educat:on"  suppiíed  by  our 
goverment  since  1 846,  has  fundamen- 
tally  touched  the  ancient  tribal  rites  and 
communal  government  of  the  Pueblo 
Indian;  and  he  has  guarded  like  ¿o  much 
treasure  the  greaí  tracís  of  land  granted 
him  by  the  Spaniards  and  confirmed    by 


the  Treaty  of  Guadalupe.  The  Span- 
ish-speaking  population,  with  the  excep»- 
tion  of  a  limited  number  of  families  of 
puré  blood  and  dominating  instincts, 
who  claim  descent  from  the  Conquista- 
dors,  has  retamed  not  only  the  Spanish 
tongue  but  many  of  the  habits,  customs 
and  religious  ceremonies  of  the  sixteenth 
and  seventeenth  centuries  and  also,  to  a 
certain  degree,  the  psychology  of  a  peas- 
ant  class.  As  for  the  pale-skinned  New 
Mexican  he  is  stiil,  in  a  sense,  the  pioneer 
of  the  Santa  Fe  trail;  still,  in  the  presence 
of  these  far  more  ancient  inhabitants  of 
the  land,  the  conqueror,  the  "white  man," 
the  "Amencan." 

Beside  US,  basking  in  the  sun  against 
the  cliff,  sat  one  of  the  wisest  of  the  ém- 
cients,  an  Indian  with  a  Spanish  néime 
(baptized  by  the  priest  in  infancy,  like  his 
fellows),  who  wore  his  hair  tied  in  bea- 
ver  skins  on  either  side  of  a  sad  benig- 
nant  oíd  face.  The  excavations  were  on 
his  tribal  land.  He  had  assisted  in  them 
and  had  guided  us  here  from  his  "gover- 
nor's"  office  in  the  pueblo  in  the  valley. 
Before  we  left  there  he  had  showed  us, 
hanging  on  the  wall,  two  ebony  silver- 
handled  canes  which  marked  his  due  suc- 
session;  one  presented  by  an  early  Span- 
ish potentate,  the  other  which  gave  us 
pause  bearing  the  inscription:  "Abraham 
Lincoln  to  — ,  1863."  The  oíd  man 
seemed  to  be  thinking  anxious  thoughts 
as  he  gazed  down  into  the  canyon,  where 
the  northern  shadow  of  every  black  pine 
was  a  sparkling  patch  of  snow.  His  eyes 
were  drawn  up  mto  two  pomts  hke  a 
worried  setter  dog  s. 

"Señor,"  we  said.  "leil  us  a  legend  of 
your  people." 

"Bueno,"  he  answered  doubtfully.  Fi- 
nally  he  began  to  speak,  tracing  Imes  in 
the  dry  earth  with  one  crooked  oíd  fin- 
ger.  But  the  "legend"  resolved  itself  in- 
to a  sort  of  dirge,  and  the  burden  of  the 
dirge  was  that  the  day  of  proud  isolalion 
for  the  Pueblo  indians  was  coming  to  an 
end.  The  young  men  were  refusing  to 
obey  the  governor,  evading  their  appoint- 
ed  duties,  carryíng  disputes  into  the  Amer- 


30 


EL   PALACIO 


ican  courts  instead  of  ío  the  Council  oí 
Elders.  Many,  many  deaths  from  influ- 
e^iza.  Land  passmg  somehow  into  Mex- 
ican  hands.  "H  ihis  go  on,  pretly  soon 
the  indian,  he  have  nothing  left  1  not 
know  what  the  Indian,  he  gomg  lo  do." 
There  li  an  oíd  Mekican  wilh  a  skin 
like  seared  parchment  in  a  certain  brown 
village  who  feeis  in  his  bones  the  same 
chill  of  approaching  change.  Don  Pan- 
cho s  greatgrandchildren  are  obliged  by 
ihe  new  law  to  go  to  scKool.      Don  Pan- 


cho'g  son-in-law  may  be  ousted  from  his 
ancestral  acres  if  a  suit  brougbt  by  the  In- 
dians  establishes  their  more  antique  claim- 
Don  Pancho  prefers  "Americanos"  to  In- 
dians  though  it  was  an  Americano  who 
seized  his  own  ranch  years  ago.  He 
borrowed  fifty  dollars  on  it  for  funeral 
expenses  when  his  wife  died,  and  the 
American  claimed  it  at  the  end  of  ihirty 
days.  Pancho  is  neverlhelcss  a  palriot. 
eager  ÍQ  display,  in  his  daughter's  best 
room,  a  crayon  portrait  and  two  colored 


FL    PALACIO 


3^1 


pKotographs  of  his  grandson  who  fought 
m  France.  (His  daüghter  abuses  her 
Mexican  neighbors,  who  have  allowed  a 
burro  to  break  into  her  corral,  in  these 
terms:  "Fs  una  familia  de  Alemanes.") 
The  grandson  is  a  rather  mystical  unin- 
telligent  face,  lilce  those  of  the  young  fel- 
lows  whom  we  saw  on  the  edge  of  the 
desert,  in  the  cold  dawn  of  Good  Fri- 
■day  fiagellating  themselves  and  dragging 
heavy  crosses  on  their  bared  and 
bloody  backs.  Probably  Juan  isa  Pen- 
itente, too.  But  Nitas  the  granddaughter, 
is  a  school-teacher,  getting  a  salary  an 
Fastern  district-school  teacher  n.ight  envy, 
and  taking  a  normal  course  every  sum- 
mer.  We  found  a  pretty  Spanish- 
American  girl  just  like  her  in  a  lost  moun- 
lain  village,  instructing  twelve  children, 
("m  English  but  we  transíate")  for  $85 
a  month,  and  expecting  a  raise, 
though  she  spent  only  $1  5.00  on  board 
and  lodging.  She  does  not  "teach  re- 
ligión til!  after  four  o'clock." 

The  newcomers  of  Anglo-Saxon  de- 
scent occasionally  will  sell  you  wonder- 
ful  Olí  shares  for  ten  cents  apiece,  nowa- 
days  and  frankly  covet  the  Indian's 
alluvial  lands"  "the  government  ought 
lo  allow  em  four  acres  each  and  sell  the 
rest"  — which  he  claims  the  Pueblos  are 
too  "unprogressive"  to  exploil;  adding,  in 
the  same  breath,  that  it  is  a  pity  we  couldn't 
have  seen  the  war  dance  last  year,  when 
they  were  all  naked  and  painted. 
"Now  some  darned  modern  teacher  has 
put  em  into  store  shirts." 

Thus  during  six  weeks,  the  Fasterner 
wanders  from  cliíf  dwelling  to  state  capi- 
tal, listening  to  voices  American,  Spamsh- 
American  and  Indian-American- -paus- 
ing  at  the  door  of  the  lawyer  who  con- 
siders  the  Pueblo  a  child  and  a  govern- 
ment ward  to  eternify;  at  the  ranch  of  thé 
ex-Indian  teacher  who  would  edúcate 
him  in  the  public  schools,  and  grant  him 
cilizenship  at  once;  at  the  stüdio  of  the 
artist  from  Chicago  who  for  esthetic  and 
cultural  reasons  would  '  keep  the  indián 
and  the  Mexican  as  they  are;  at  the  offi- 
ces of  the  new  women's  political    organi- 


zations  which  stand  for  "Americanization," 
even  at  the  expense  of  black  shawls  and 
led  blankets  from  all  this  deriving  a 
strong  impression  that,  for  better  or  worse, 
the  era  of  "stratified"  civilizations  is  com- 
ing  to  an  end,  and  the  era  of  the  "melt- 
ing  pot"  beginping.  Though  there  are, 
even  today,  less  than  four  mhabitants  to  a 
square  mile  the  three  races  are  beginning 
to  tread  on  one  another's  toes,  and,  with 
the  growth  of  prosperity  and  state  con- 
sciousness,  with  suífrage  and  compulsory 
education,  and  the  breakdown  of  language 
barriers.  have  got  to  learn  to  live  together 
instead  of  apart. 

The  Fasterner,  who  has  seen  the  ugly 
conglomérate  produced  by  the  "melting 
pot"  m  other  parts  of  the  country,  has  the 
tementy  to  suggest  that  New  México  has 
a  unique  opportunity  to  assimilate  without 
destroymg  the  stored  wisdom  and  indi- 
viduality  and  artistic  technique  of  the  two 
ancient  cultures.  Here,  if  anywhere  on 
American  soil,  it  should  be  possible  to 
conserve  the  heritage  of  the  past  without 
limiting  the  promise  of  the  future.  There 
is  a  charm  in  the  Southwestern  air  which 
liberales  men  from  oppressive  traditions  as 
it  liberales  them  from  the  fears  and  mhi- 
bitions  and  sicknesses  and  ]ealousies  that 
burden  them  in  narrower  places.  The 
"dolce  far  niente"  territorial  regime  had  this 
of  good,  that  it  leaves  the  new  state  gov- 
ernment free  to  form  its  own  traditions— ^ 
free  even  of  the  iheory  that  teachers  musí 
be  badly  paid.  Vasl  undeveloped  re- 
sources,  both  mineral  and  agricultural, 
land  enough  for  everyone  lo  have  a  com- 
fortable  slice,  high  wage  standards,  simple 
slandards  of  living  which  minimize  social 
distinclions — almost  every  New  Mexican 
has  a  horse  as  well  as  a  ranch  and  the  wq- 
man  who  has  Iived  eleven  years  in  París 
works  as  hard  at  her  plowing  as  her  hum- 
blest  neighbor — here  are  some  of  thé 
conditions  of  an  ideal  community. 

When  a  bird  or  an  animal  diés  in"the 
desert  it  does  not  decay.  it  sloWly  des-» 
sicates.  Perhaps  the  hoary  civiliratrOn's 
of  this  infant  state,  especially  the  'Itidiari, 
are  doomed  lo  some  such   gradual  dessi- 


32 


EL     PALACIO 


AT    SANTA    CLARA 

By   Grace  Kavün 


catión  in  ihe  ho(  sun  oí  progress.  If  they 
ever  reach  the  point  oí  being  only  dned 
Dones  to  amuse  the  tourist  or  even  inspire 
the  artisi  they  will,  rightly  enough.  be 
picked  up  and  classiíied  in  the  Santa  Fe 
Museum.  But  at  present  they  are  full 
of  a  coursing  vitality.  as  anyone  who  has 
seen  a  Mexican  wedding  dance  or  a  corn 
dance  al  San  Felipe  on  May  1  can  tes- 
tify-  Fhe  New  Mexican  of  all  threein- 
heritances  should  be  the  richer  for  them. 
He  is  a  very  lucky  fellow.  Where  else 
in  the  world.  within  easy  reach  of  famn, 
city  and  university.  can  the  average  citi- 
íen  watch.  on  dusty  plazas  whose  beauty 
is  a    sorl    of    composite    of    Greece   and 


Egypt  and  Palestine,  againsf  mountains: 
Gaugin  should  ha  ve  painted.  dances  whose 
rhythms  and  colors  and  symbols  are  as 
oíd  as  the  cliffs  and  the  spring,  yet  as 
modem  as  the  Russian  ballet?  Where 
else  in  the  woild  is  it  possible  to  distin- 
guish  so  clearly  the  relative  im|X)rlance  of 
folk  lore, alfalfa  and  oil  wells?  If  the  New 
Mexican  ever  loses  his  sense  of  propor- 
tion  he  has  only  to  gallop  half  a  mile  into 
the  hills  to  measure  his  petty  aífairs  again.^ 
the  giant  indifference  of  nature;  lo  learn. 
m  the  silence  of  the  scarred  earth  he  is 
ranging,  the  primilive  and  savage  meaning 
of  Sun,  Wind,  Rock,  Bird,  Tree,  River, 
Mounlain,  Plam.