So far as I am able to learn, the three pieces of this remarkable costume are never worn except on a single occasion, and at only one other time does the bride formally appear in any of them. About a month after the marriage ceremony has been performed, during which time she has been living with the family of her husband, she completes the marriage ceremony by returning to the house of her mother. This is termed "going home," and this will be her place of abode until she and her husband own a dwelling of their own. For this ceremony she puts on the larger of the two blankets, which reaches almost to the ground and comes up high on the back of the head, covering her ears. The smaller blanket and the sash are rolled up in the mat, and with this in front of her on her two arms she begins her journey "home." This white cotton costume is probably a survival from times which antedate the introduction of wool into the Southwest. Who makes all these garments, blankets, etc.? Not the women, as you might expect, but the men. A Hopi woman doesn't even make her own moccasins. If you will descend into one of the kivas on almost any day of the year, except when the secret rites of ceremonies are being held, you will behold an industrious and an interesting scene. You will find a group of men, naked except for a loin cloth, all busy either with the carding combs, the spindle, or the loom; and to me the most interesting of these three operations is that of the spinning of wool. The spindle itself is long and heavy, and the whorl, in the older examples, is a large disk cut from a mountain goat's horn. There is no attempt at decoration, nor do the spindles compare with those found in Peru and other parts of America for neatness and beauty. An unusual feature of the method employed by the Hopi spinner is the manner in which the spindle is held under one foot while he straightens out the thread preparatory to winding it.