Nampeo was prepared to instruct. Samples of the various clays were at hand and the novice was initiated into the qualities of the _hisat chuoka_, or ancient clay, white, unctuous and fragrant, to which the ancient Sikyatki potters owed the perfection of their ware; the reddish clay, _siwu chuoka_, also from Sikyatki; the hard, iron-stained clay, _choku chuoka_, a white clay with which vessels are coated for finishing and decoration, coming from about twelve miles southeast of Walpi. In contrast with Nampeo's four clays the Hopi women use only two, a gray body clay, _chakabutska_, and a white slip clay, _kutsatsuka_. Continuing her instructions Nampeo transferred a handful of well-soaked ancient clay from a bowl on the floor by her side to a smooth, flat stone, like those found in the ruined pueblos. The clay was thrust forward by the base of the right hand and brought back by the hooked fingers, the stones, sticks, and hairs being carefully removed. After sufficient working, the clay was daubed on a board, which was carried out, slanted against the house, and submitted to the all-drying Tusayan sun and air. In a short time the clay was transferred from the board to a slab of stone and applied in the same way, the reason being a minor one known to Nampeo,--perhaps because the clay after drying to a certain degree may adhere better to stone than to wood. Sooner than anyone merely acquainted with the desiccating properties of the moisture-laden air of the East might imagine, the clay was ready to work and the plastic mass was ductile under the fingers of the potter. Nampeo set out first to show the process of coiling a vessel. The even "ropes" of clay were rolled out from her smooth palms in a marvelous way, and efforts to rival excited a smile from the family sitting around as interested spectators. The concave dish called _tabipi_, in which she began the coiled vessel and which turns easily on its curved bottom, seems to be the nearest approach of the Pueblos to the potter's wheel. The seeming traces of unobliterated coiling on the bases of some vessels may be the imprints from the coils of the _tabipi_. As the vessel was a small one, the coiling proceeded to the finish and the interims of drying as observed in the manufacture of large jars were not necessary. Then gourd smoothers, _tuhupbi_, were employed to close up the coiling grooves, and were always backed from the outside or inside by the fingers. Finally the smooth "green" vessel was set aside to dry.