Southwestern Historical Quarterly
of other pioneer journals, whose charming introduction and careful
notes remain the most basic contribution. The editors of the present
version-Raymond W. Settle, Mary Lund Settle, and Harry R. Stevens
-have wisely retained the earlier notes but have added considerable
detail, an improved index, and a valuable bibliography.
The results have been worth the effort. A significant primary work
of Western exploration is once again readily available. It will continue
to be regarded as a valuable reference for those interested in the period
of fur trappers and Mountain Men.
University of Utah DAVIs BITTON
Ritual in Pueblo Art: Hopi Life in Hopi Painting. By Byron Harvey
III. (New York: Museum of the American Indian, Heye Foun-
dation, 1970. Pp. v+185. Figures. $8.oo.)
Hopi Indians of northern Arizona live in a highly ritualized world.
Many of their ceremonies date from pre-Conquest days. To visually
portray contemporary ritual and other activities of Second Mesa,
Arizona, the Museum of the American Indian commissioned 270
works painted by five Hopi artists. Of these, 185 were chosen by
supervisor of the project Byron Harvey III for reproduction in this
Ritual in Pueblo Art can stand comfortably beside two earlier
authorities in the field, J. W. Fewkes' Hopi Katcinas, Drawn by Native
Artists and E. C. Parsons' Isleta Paintings. Together these three books
cover a wide range of Hopi ceremony. Their significance among the
dozens of such collections on various Indian groups lies in the careful
documentation which accompanies the paintings.
The format of Ritual in Pueblo Art is somewhat awkward; the
paintings are separated from information about them by fifty pages
or more. The documentation, when located and used, however, makes
up for the inconvenience. The artist himself often explains in words
what he is portraying in paint. Harvey clarifies and occasionally in-
cludes comments by other Hopi who viewed the work. The author
also cites published comment on the topic.
The artists were not chosen for artistic ability nor were they en-
couraged to penetrate secret rituals as Parsons' Isleta artist did. Will-
ingness to paint ordinary activities in depth was considered more
desirable. All five artists lived part of their lives at Second Mesa. The
Texas State Historical Association. The Southwestern Historical Quarterly, Volume 75, July 1971 - April, 1972. Austin, Texas. The Portal to Texas History. http://texashistory.unt.edu/ark:/67531/metapth101201/. Accessed August 30, 2015.