Seemingly the men work harder making paraphernalia and costumes for the ceremonies than at anything else, but it should be remembered that in ancient days everything depended, in Hopi belief, on propitiating the deities. Still if we would pick the threads of religion from the warp and woof of Hopi life there apparently would not be much left. It must be recorded, in the interests of truth, that Hopi men will work at day's labor and give satisfaction except when a ceremony is about to take place at the pueblo, and duty to their religion interferes with steady employment much as fiestas do in the easy-going countries to the southward. Really, the Hopi deserve great credit for their industry, frugality, and provident habits, and one must commend them because they do not shun work and because in fairness both men and women share in the labor for the common good. An account of the arts which are carried on in the Hopi towns may prove interesting to the reader who would like to know something of the methods of the moccasin maker, potter, weaver, carver, basket maker, and house builder, examples of whose handiwork are scattered widely among collectors of artistic and remarkable things. As though to keep up the dignity of the Peaceful People the wife of "Harry," the new Snake chief of Walpi, frequently wears the cumbrous foot-gear common along the Rio Grande. In spite of the scarcity of deerskins, every Hopi bride must have as part of her trousseau a pair of these remarkable foot-coverings, which require a large deerskin for their manufacture. When the burdensome ceremony of marriage is over the moccasins are laid away or worn out and never again may the woman expect to have her measure taken for another pair. But as moccasins are a part of the men's costume without which they cannot run well over the yielding sand, and as there is no village shoemaker, every man must make his own or go barefoot. Frequently in the villages one meets a moccasin maker, chewing at the rawhide and busily plying his awl and sinew while he goes gadding about. Just before the Snake Dance, when every Snake priest must provide a pair of new moccasins for himself, this art is very much in evidence. The moccasin maker takes pride in hiding his stitches, and it must be said that his sewing is exceptionally good in spite of the crude tools of his craft. With the same skill he displays in other crafts, the Hopi prepares the leather for the indispensable moccasins. The simplest way of giving color to the leather is to rub red ocher or other clay into the soft-tanned skin, as is seen in the red moccasins of the Snake dancers. A warm brown is given to the leather with an infusion of the bark of the water birch, and a black dye is made by burning piñon resin with crude native alum. Sometimes the esthetic tastes of a young man are gratified by moccasins dyed with aniline red or blue according to his fancy.