The Project Gutenberg eBook of Prehistoric Textile Art, by William Henry Holmes.

That cradles of textile construction were used by the mound-builders may be taken for granted. The following is from Du Pratz, who is speaking of the work of the inhabitants of the lower Mississippi:

This cradle is about two feet and a half long, nine inches broad. It is skillfully made of straight canes of the length desired for the cradle, and at the end they are cut in half and doubled under to form the foot. The whole is only half a foot high. This cradle is very light, weighing only two pounds. * * * The infant being rocked lengthwise, its head is not shaken as are those who are rocked from side to side, as in France. * * * The cradle is rocked by means of two ends of canes, which make two rollers.[15]

Woven targets or shields would seem to be rather novel objects, but such are mentioned by John Smith, who used those belonging to friendly Indians in an encounter on the Chesapeake:

Here the Massawomek Targets stood vs in good stead, for vpon Mosco's words we had set them about the forepart of our Boat like a forecastle, from whence we securely beat the Salvages from off the plaine without any hurt. * * * Arming ourselues with these light Targets (which are made of little small sticks woven betwixt strings of their hempe and silke grasse, as is our cloth, but so firmly that no arrow can possibly pierce them).[16]

No class of articles of textile nature were more universally employed by the aborigines than mats of split cane, rushes, and reeds, and our information, derived from literature and from such remnants of the articles themselves as have been recovered from graves and caves, is quite full and satisfactory. Mats are not so varied in form and character as are baskets, but their uses were greatly diversified; they served for carpeting, seats, hangings, coverings, and wrappings, and they were extensively employed in permanent house construction, and for temporary or movable shelters. A few brief extracts will serve to indicate their use in various classes of construction by the tribes first encountered by the whites.

Are made of small poles made fast at the tops in rounde forme after the maner as is vsed in many arbories in our gardens of England, in most townes couered with barkes, and in some with artificiall mattes made of long rushes; from the tops of the houses downe to the ground.[17]

It would appear from a study of the numerous illustrations of houses given by this author that the mats so often referred to were identical in construction with those still in use among the tribes of the upper Mississippi and the far west. The rushes are laid close together side by side and bound together at long intervals by cords intertwined across. In e, plate I, is reproduced a small portion of a mat from Hariot's engraving of the dead-house of the Virginia Indians, which shows this method of construction.

The modern use of mats of this class in house construction is known by an example which I have seen represented in a small photograph, taken about the year 1868, and representing a Chippewa village, situated somewhere in the upper Missouri valley, probably not far from Sioux City, Iowa.

Mats were used not only in and about the dwellings of the aborigines, but it was a common practice to carry them from place to place to sleep on, or for use as seats or carpeting in meetings or councils of ceremonious nature. The latter use is illustrated in a number of the early accounts of the natives. Figure 2, copied from Lafitau, serves to indicate the common practice.

Sometimes they are troubled with dropsies, swellings, aches, and such like diseases; for cure whereof they build a Stone in the forme of a Doue-house with mats, so close that a few coales therein covered with a pot, will make the patient sweat extreamely.[18]

Bartram, speaking of the Seminoles, states that the wide steps leading up to the canopied platform of the council house are "covered with carpets or mats, curiously woven of split canes dyed of various colours."[19]

The use of mats in the mound country in very early times is described by Joutel as follows:

Their moveables are some bullocks' hides and goat skins well cured, some mats close wove, wherewith they adorn their huts, and some earthen vessels which they are very skilful at making, and wherein they boil their flesh or roots, or sagamisé, which, as has been said, is their pottage. They have also some small baskets made of canes, serving to put in their fruit and other provisions. Their beds are made of canes, raised 2 or 3 feet above the ground, handsomely fitted with mats and bullocks' hides, or goat skins well cured, which serve them for feather beds, or quilts and blankets; and those beds are parted one from another by mats hung up.[21]

The mats so much used for beds and carpets and for the covering of shelters, houses, etc., were probably made of pliable materials such as rushes. De la Potherie illustrates their use as beds,[20] one end of the mat being rolled up for a pillow as shown in figure 3.

The sizes of mats were greatly varied; the smallest were sufficient for seating only a single person, but the largest were many yards in length, the width being restricted to a few feet by the conditions of construction.

Mats were woven in two or more styles. Where the strands or parts were uniform in size and rigidity they were simply interlaced, but when one strong or rigid series was to be kept in place by a pliable series, the latter were twisted about the former at the intersections as in ordinary twined weaving. The heavy series of strands or parts were held together side by side by the intertwined strands placed far apart, a common practice yet among native mat-makers. Much variety of character and appearance was given to the fabric by varying the order of the strands in intersection. It was a common practice to interweave strands of different size, shape, or color, thus producing borders and patterns of no little beauty. Du Pratz thus mentions the use of dyes by the Louisiana Indians: "The women sometimes add to this furniture of the bed mats woven of cane, dyed of 3 colours, which colours in the weaving are formed into various figures."[22] This is well illustrated in the mat from a rock shelter in Tennessee, later to be described, and the Indians of the east and north practiced the same art.

Speaking of the ceremony of smoking the calumet among the Iroquois, De la Potherie says:

The ceremony is held in a large cabin in winter and in summer in an open field. The place being chosen, it is surrounded with branches to shade the company. In the center is spread a large mat of canes dyed in various colors, which serves as a carpet.[23]

Frequent mention is made of the use of mats in burial. Two brief extracts will serve to illustrate this use. Butel-Dumont makes the following statement regarding tribes of the lower Mississippi:

The Paskagoulas and Billoxis do not inter their chief when he dies, but they dry the corpse with fire and smoke in such a way that it becomes a mere skeleton. After it is reduced to this state they carry it to the temple (for they have one as well as the Natchez) and put it in the place of its predecessor, which they take from the spot it occupied and place it with the bodies of the other chiefs at the bottom of the temple, where they are arranged one after the other, standing upright like statues. As for the newly deceased, he is exposed at the entrance of the temple on a sort of altar or table made of cane and covered with a fine mat very neatly worked in red and yellow squares with the skin of the canes.[24]

Brackenridge [25] says that a few years ago, in the state of Tennessee, "Two human bodies were found in a copperas cave in a surprising state of preservation. They were first wrapped up in a kind of blanket, supposed to have been manufactured of the lint of nettles, afterwards with dressed skins, and then a mat of nearly 60 yards in length."

The use of simple strands or parts in textile art precedes the use of spun threads, but the one use leads very naturally up to the other. In employing rushes, stems, grasses, etc., the smaller strands were doubled to secure uniformity of size, and when a number of parts were used they were combined into one by twisting or plaiting. In time the advantage in strength and pliability of twisted strands came to be recognized, and this led to the general utilization of fibrous substances, and finally to the manufacture of suitable fibers by manipulating the bark of trees and plants. Spinning was probably not devised until the weaver's art had made considerable advance, but its invention opened a new and broad field and led to the development of a magnificent industry. Semi-rigid fabrics served for a wide range of uses, as already described, but soft and pliable cloths for personal use and ornament were made possible only by the introduction of spinning.

On the arrival of the whites the native art was well advanced; thread, cordage, and even ropes of considerable weight were made with a degree of uniformity and refinement that surprises us. The finest threads with which I am acquainted are perhaps not as fine as our no. 10 ordinary spool cotton thread, but we are not justified in assuming that more refined work was not done. What we have is only that which happened to be preserved through burial with the dead or by impression on the plastic surface of clay used in the arts.

The materials employed for spinning by the aborigines were greatly diversified. Through historical as well as through purely archeologic sources we learn that both vegetal and animal filaments and fibers were freely used. The inner bark of the mulberry was a favorite material, but other fibrous barks were utilized. Wild hemp, nettles, grasses, and other like growths furnished much of the finer fibers. The hackling was accomplished by means of the simplest devices, such as pounding with hammers or sticks. The hair and sinews of animals were frequently spun into threads and woven into cloth.

A few citations from early authors will indicate sufficiently for present purposes the methods of spinning and weaving employed by tribes which, if not in all cases mound-builders, were at least the neighbors and relatives of the mound-building Indians.

The character of the woven articles is to a great extent indicated in the extracts which follow. It evidently was not customary to weave "piece" goods, but rather to make separate units of costumes, furnishing, etc., for use without cutting, fitting, and sewing. Each piece was practically complete when it came from the frame or loom. For clothing and personal use there were mantles, shawls, and cloaks to be worn over one or both shoulders or about the body as described by Hariot, Smith, the Knight of Elvas, Du Pratz, and others; there were skirts fastened about the waist and drawn with an inserted cord or looped over a belt; there were belts, sashes, garters, shot pouches, and bags. For household use there were hangings, covers for various articles, and bedclothing; there were nets for fishing and cords for angling. Some of these extracts describe the whole group of activities included in the practice of the art as well as the use of the products. I have considered it preferable to quote as a unit all that is said on the subject by each author, giving cross reference, when necessary, in discussing particular topics under other headings.

Weaving among the Indians of New Jersey, Pennsylvania, New York, and the northeast is described by Kalm, De la Potherie, and others. The following extracts are from Kalm, and will serve to indicate the status of the art over a wide area:

Apocynum cannabinum was by the Swedes called Hemp of the Indians; and grew plentifully in old corn grounds, in woods on hills, and in high glades. The Swedes had given it the name of Indian hemp, because the Indians formerly, and even now, apply it to the same purposes as the Europeans do hemp; for the stalk may be divided into filaments, and is easily prepared. When the Indians were yet settled among the Swedes, in Pensylvania and New Jersey, they made ropes of this apocynum, which the Swedes bought, and employed them as bridles, and for nets. These ropes were stronger, and kept longer in water, than such as were made of common hemp. The Swedes commonly got fourteen yards of these ropes for one piece of bread. Many of the Europeans still buy such ropes, because they last so well. The Indians likewise make several other stuffs of their hemp. On my journey through the country of the Iroquese, I saw the women employed in manufacturing this hemp. They made use neither of spinning wheels nor distaffs, but rolled the filaments upon their bare thighs, and made thread and strings of them, which they dyed red, yellow, black, etc., and afterwards worked them into stuffs, with a great deal of ingenuity. The plant is perennial, which renders the annual planting of it altogether unnecessary. Out of the root and stalk of this plant, when it is fresh, comes a white milky juice, which is somewhat poisonous. Sometimes the fishing tackle of the Indians consists entirely of this hemp. The Europeans make no use of it, that I know of.[26]

The Direa palustris, or Mouse-wood, is a little shrub which grows on hills, towards swamps and marshes, and was now in full blossom. The English in Albany call it Leather-wood, because its bark is as tough as leather. The French in Canada call it Bois de Plomb, or Leaden-wood because the wood itself is as soft and as tough as lead. The bark of this shrub was made use of for ropes, baskets, etc., by the Indians, whilst they lived among the Swedes. And it is really very fit for that purpose, on account of its remarkable strength, and toughness, which is equal to that of the Lime-tree bark. The English and the Dutch in many parts of North America, and the French in Canada, employ this bark in all cases where we make use of Lime-tree bark in Europe. The tree itself is very tough, and you cannot easily separate its branches without the help of a knife: some people employ the twigs for rods.[27]

The women spin on their knees, twisting the thread with the palm of the hand; they make this thread, which should rather be called twine (fisselle), into little balls.[28]

Hariot, John Smith, and Adair bear witness to the primitive practice of the art in Virginia and the Carolinas. Smith uses the following words:

Betwixt their hands and thighes, their women vse to spin, the barkes of trees, Deere sinewes, or a kinde of grasse they call Pemmenaw, of these they make a thread very even and readily. This thread serveth for many vses. As about their housing apparell, as also they make nets for fishing, for the quantitie as formally braded as ours. They make also with it lines for angles.[29]

The Cherokees and other Indians with whom Adair came in contact preserved in their purity many of the ancient practices. The following extracts are, therefore, of much importance to the historian of the textile art in America:

Formerly, the Indians made very handsome carpets. They have a wild hemp that grows about six feet high, in open, rich, level lands, and which usually ripens in July: it is plenty on our frontier settlements. When it is fit for use, they pull, steep, peel, and beat it; and the old women spin it off the distaffs, with wooden machines, having some clay on the middle of them, to hasten the motion. When the coarse thread is prepared, they put it into a frame about six feet square, and instead of a shuttle, they thrust through the thread with a long cane, having a large string through the web, which they shift at every second course of the thread. When they have thus finished their arduous labour, they paint each side of the carpet with such figures, of various colours, as their fruitful imaginations devise; particularly the images of those birds and beasts they are acquainted with; and likewise of themselves, acting in their social, and martial stations. There is that due proportion and so much wild variety in the design, that would really strike a curious eye with pleasure and admiration. J. W—t, Esq., a most skilful linguist in the Muskohge dialect, assures me, that time out of mind they passed the woof with a shuttle; and they have a couple of threddles, which they move with the hand so as to enable them to make good dispatch, something after our manner of weaving. This is sufficiently confirmed by their method of working broad garters, sashes, shot pouches, broad belts, and the like, which are decorated all over with beautiful stripes and chequers.

The women are the chief, if not the only, manufacturers; the men judge that if they performed that office, it would exceedingly depreciate them. * * * In the winter season, the women gather buffalo's hair, a sort of coarse, brown, curled wool; and having spun it as fine as they can, and properly doubled it, they put small beads of different colours upon the yarn, as they work it, the figures they work in those small webs, are generally uniform, but sometimes they diversify them on both sides. The Choktah weave shot-pouches which have raised work inside and outside. They likewise make turkey feather blankets with the long feathers of the neck and breast of that large fowl—they twist the inner end of the feathers very fast into a strong double thread of hemp, or the inner bark of the mulberry tree, of the size and strength of coarse twine, as the fibres are sufficiently fine, and they work it in manner of fine netting. As the feathers are long and glittering, this sort of blankets is not only very warm, but pleasing to the eye.[30]

The extent and importance of the art among the Gulf tribes are indicated by a number of early observers. The Knight of Elvas speaks of the use of blankets by the Indians, 83 degrees west longitude, and 32 degrees north latitude, or near the central portion of Georgia:

These are like shawls, some of them are made from the inner barks of trees, and others from a grass resembling nettle, which, by threading out, becomes like flax. The women use them for covering, wearing one about the body from the waist downward, and another over the shoulder, with the right arm left free, after the manner of the gypsies: the men wear but one, which they carry over their shoulders in the same way, the loins being covered with a bragueiro of deer-skin, after the fashion of the woolen breech-cloth that was once the custom of Spain. The skins are well dressed, the color being given to them that is wished, and in such perfection, that, when of vermilion, they look like very fine red broadcloth, and when black, the sort in use for shoes, they are of the purest. The same hues are given to blankets.[31]

In the barbacoas were large quantities of clothing, shawls of thread, made from the barks of trees and others of feathers, white gray, vermilion and yellow, rich and proper for winter.[32]

The frequent mention of fabrics used by the Indians for shawls, mantles, etc., makes it plain that such were in very general use when the town of Pacaha was captured, and the Spaniards clothed themselves with mantles, cassocks, and gowns made from these native garments. Everywhere woven shawls were a principal feature of the propitiatory gifts of the natives to the Spaniards.

The extent of this manufacture of hempen garments by the Indians of the lower Mississippi is well indicated in the account of the adventures of the expedition on the western side of the Mississippi at Aminoga. The Spaniards undertook the construction of brigantines by means of which they hoped to descend the Mississippi and to pass along the gulf coast to Mexico. A demand was made upon the natives for shawls to be used in the manufacture of sails, and great numbers were brought. Native hemp and the ravelings of shawls were used for calking the boats.[33] What a novel sight must have been this first European fleet on the great river, consisting of five brigantines impelled by sails of native manufacture!

It is worthy of note that in this region (of the lower Mississippi) the Spaniards saw shawls of cotton, brought, it was said, from the west—probably the Pueblo country, as they were accompanied by objects that from the description may have been ornaments of turquois.[34]

Many of the women wear cloaks of the bark of the mulberry-tree, or of the feathers of swans, turkies, or India ducks. The bark they take from young mulberry shoots that rise from the roots of trees that have been cut down; after it is dried in the sun they beat it to make all the woody part fall off, and they give the threads that remain a second beating, after which they bleach them by exposing them to the dew. When they are well whitened they spin them about the coarseness of pack-thread, and weave them in the following manner: they plant two stakes in the ground about a yard and a half asunder, and having stretched a cord from the one to the other, they fasten their threads of bark double to this cord, and then interweave them in a curious manner into a cloak of about a yard square with a wrought border round the edges. * * * The girls at the age of eight or ten put on a little petticoat, which is a kind of fringe made of threads of mulberry bark.[35]

The manner of weaving in the middle and upper Mississippi country is described by Hunter, who, speaking of the Osage Indians and their neighbors, says:

The hair of the buffalo and other animals is sometimes manufactured into blankets; the hair is first twisted by hand, and wound into balls. The warp is then laid of a length to answer the size of the intended blanket, crossed by three small smooth rods alternately beneath the threads, and secured at each end to stronger rods supported on forks, at a short distance above the ground. Thus prepared, the woof is filled in, thread by thread, and pressed closely together, by means of a long flattened wooden needle. When the weaving is finished, the ends of the warp and woof are tied into knots, and the blanket is ready for use. In the same manner they construct mats from flags and rushes, on which, particularly in warm weather, they sleep and sit.[36]

Fabrics of various kinds were employed in burial, although not generally made for that purpose. The wrappings of dead bodies were often very elaborate, and the consignment of these to tombs and graves where the conditions were favorable to preservation has kept them for long periods in a most perfect state. By exhumation we have obtained most of our information on this subject. Our knowledge is, however, greatly increased by descriptions of such burial customs as were witnessed in early times. Extracts already given refer to the use of fabrics in mortuary customs. Many others could be cited but the following seems sufficient:

After the dead person has lain a day and a night in one of their hurdles of canes, commonly in some out house made for that purpose, those that officiate about the funeral go into the town, and the first young men they meet withal, that have blankets or match coats on, whom they think fit for their turn, they strip them from their backs, who suffer them so to do without any resistance. In these they wrap the dead bodies, and cover them with two or three mats which the Indians make of rushes or cane; and, last of all, they have a long web of woven reeds or hollow canes, which is the coffin of the Indians, and is brought round several times and tied fast at both ends, which, indeed, looks very decent and well. Then the corps is brought out of the house into the orchard of peach trees, where another hurdle is made to receive it, about which comes all the relations and nation that the dead person belonged to, besides several from other nations in alliance with them; all which sit down on the ground upon mats spread there for that purpose.[37]

The manufacture and use of nets by natives in various parts of the country are recorded by early writers, some of whom have already been quoted. Speaking of the Iroquois De la Potherie says:

The old men and those who can not or do not wish to go to war or the chase, make nets and are fishers. This is a plebian trade among them. Their nets are made of thread of nettles or of white wood, the bark of which they make into thread by means of lye which renders it strong and pliable.[38]

The Sauteurs, who are beyond the Missisakis, take their name from a Saut (waterfall) which flows from Lake Superior into Lake Huron by a great fall whose rapids are extremely violent. These people are very skillful in fishery by which they obtain white fish as large as salmons. They cross all these terrible rapids into which they cast a net like a sack, a little more than half an ell in width by one in depth attached to a forked stick about 15 feet long.[39]

For taking pigeons in summer in nets, they make a broad path in the woods and attach to two trees, one on each side, a large net made in the shape of a sack well opened.[40]

Du Pratz, speaking of the fishing nets of the Louisiana Indians, states that they "are meshed like ours and made of lime-tree bark; the large fish are shot with arrows."[41]

Feather work was one of the most remarkable arts of the natives of Mexico and other southern countries at the period of the conquest. The feathers were sometimes woven in with the woof and sometimes applied to a network base after the fashion of embroidery. Rarely, it may be imagined, were either spun or unspun fabrics woven of feathers alone. Very pleasing specimens of ancient Peruvian feather work are recovered from graves at Ancon and elsewhere, and the method of inserting the feathers is illustrated in the Sixth Annual Report of the Bureau of Ethnology.[42] In few instances has such work been recovered from mounds or burial places, but there can be no doubt that the mound-building tribes were experts in this art. Frequent mention is made of the feather work of the natives by the earliest explorers of the Mississippi valley, and the character of the work may be gathered from the extracts already given and from those which follow.

We haue seene some vse mantels made of Turky feathers, so prettily wrought and woven with threads that nothing could be discerned but the feathers.[43]

Lawson mentions a "doctor" of the Santee nation who "was warmly and neatly clad with a match coat, made of turkies feathers, which makes a pretty show, seeming as if it was a garment of the deepest silk shag."[44]

Their feather match coats are very pretty, especially some of them, which are made extraordinary charming, containing several pretty figures wrought in feathers, making them seem like a fine flower silk shag; and when new and fresh, they become a bed very well, instead of a quilt. Some of another sort are made of hair, raccoon, bever, or squirrel skins, which are very warm. Others again are made of the greenpart of the skin of a mallard's head, which they sew perfectly well together, their thread being either the sinews of a deer divided very small, or silk grass. When these are finished, they look very finely, though they must needs be very troublesome to make.[45]

If the women know how to do this kind of work they make mantles either of feathers or woven of the bark of the mulberry tree. We will describe their method of doing this. The feather mantles are made on a frame similar to that on which the peruke makers work hair; they spread the feathers in the same manner and fasten them on old fish nets or old mantles of mulberry bark. They are placed, spread in this manner, one over the other and on both sides; for this purpose small turkey feathers are used; women who have feathers of swans or India ducks, which are white, make these feather mantles for women of high rank.[46]

Butel-Dumont describes feather work of the natives of Louisiana briefly as follows:

They [the women] also, without a spinning wheel or distaff, spin the hair or wool of cattle of which they make garters and ribands; and with the thread which they obtain from lime-tree bark, they make a species of mantle, which they cover with the finest swan's feathers fastened one by one to the material. A long task indeed, but they do not count this trouble and time when it concerns their satisfaction.[47]

The use of beads, quills, and other articles to beautify the surfaces of fabrics and skins was as common, no doubt, with the ancient as with the modern native inhabitants of the Mississippi valley. In discoursing on the dress of native women of Louisiana Butel-Dumont says that the young girls wear—

* * * a sort of network attached to the waist and terminating in a point, * * * both sides of which are ornamented with ribbons of thread made from lime-tree fiber, also made into network. From the waist to the knees hang several cords of the same thread, to the ends of which are attached claws of birds of prey, such as eaglets, crows, etc., so that when the girls walk these make a rattling noise which is highly pleasing to them. This kind of ornament does not illy resemble those nets which we use to cover our horses to protect them from flies.[48]

The women make also designs in embroidery with the skin of the porcupine; they remove for this purpose the skin of this animal, which is white and black; they split it very fine to use as embroidery thread, dye a part of the white skin a red color, another part yellow, and a third part is left white; they usually work on black skin, and dye the black a reddish brown; but if they work on bark, the black [threads] remain the same. Their designs are very similar to some of those found in Gothic architecture; they are composed of straight lines which form right angles at their conjunction, which is commonly called the corner of a square. They also work similar designs on mantles and coverings which they make with the bark of the mulberry tree.[49]

John Smith testifies to the same practices in Virginia as shown in the following lines:

For their apparell, they are sometimes covered with the skinnes of wilde beasts, which in Winter are dressed with the hayre, but in Sommer without. The better sort use large mantels of Deare skins, not much differing in fashion from the Irish mantels. Some imbrodered with white beads, some with Copper, other painted after their manner. * * * We haue seene some use mantels made of Turky feathers, so prettily wrought and woven with threads that nothing could be discerned but the feathers.[50]