Everyone who visits Tusayan will bring away as a souvenir some of the work of Nampeo, the potter who lives with her husband Lesu in the house of her parents at Hano, the little Tewa village on the great Walpi mesa near the gap. The house belongs to Nampeo's mother according to Pueblo property right, wherein she and her husband, both aged and ruddy Tewa, with their children and grandchildren live amicably as is usual among the Peaceful People. The house below the mesa, topped with a glowing red iron "Government" roof, is Nampeo's, who thus has two houses, but she spends most of her time in the parental dwelling at Hano. Nampeo is a remarkable woman. No feeling of her racial inferiority arises even on the first meeting with this Indian woman, barefoot, bonnetless, and clad in her quaint costume. For Nampeo is an artist-potter, the sole survivor in Hano of the generations of women artists who have deposited the product of their handicraft in the care of the dead. In the household her aged father and mother are final authority on the interpretation of ancient symbolic or cult representations in art. Nampeo likewise carefully copies on paper the decorations of all available ancient pottery for future use. Her archeological methods are further shown by her quest for the clays used by those excellent potters of old Sikyatki and by her emulation of their technique. One noon under the burning August sun, Doctor Fewkes and the writer climbed the East Mesa, the former to attend the Flute Ceremony at Walpi and the latter with an appointment to pry into the secrets of Nampeo, the potter. In the house, pleasantly cool and shaded, sat the old couple and Lesu. The baby was being secured to its board for its afternoon nap, while Lesu spun. It was a pleasure to examine the quaint surroundings and the curious belongings hung on the wall or thrust above the great ceiling beams,--strings of dried _wiwa_, that early spring plant which has before now tided the Peaceful People over famine, gaily painted dolls, blankets, arrows, feathers, and other objects enough to stock a museum. Lesu did the honors and said among other things that some of the ceiling beams of the room came from ancient Awatobi, destroyed in 1700. A small niche in the rear wall of the living room, at the back of which stood a short notched log-ladder, caused some speculation. Quite unexpectedly and in a somewhat startling way its purpose was explained, for, when someone called the absent Nampeo, a pair of feet were seen coming down the steps of the ladder, followed finally by Nampeo, who, after a profound bodily contortion, smilingly emerged from the narrow passage into the room.