Belts, garters, and hair tapes are made on a small loom provided with reed or heddle frame, and usually this is woman's work. Strangely enough the belt loom is a kind of harness, for the warp is stretched out between the woman's feet and a yoke that extends across her back. The yarn used for belts is bought from the trader. The old belts are marvels of design and are among the most pleasing specimens of the art work of the Hopi. With the introduction of dyed trader's yarns and coal-tar colors has come a deterioration in the work of the Navaho weavers. Among the Hopi this is not noticeable, but, no doubt, for this reason the embroidery on the hems of the ceremonial blankets, sashes, and kilts is gayer than in former times when subdued mineral colors and vegetable dyes only were available. Every visitor to the Hopi pueblos is attracted by the carved wooden figures painted in bright colors and decorated with feathers, etc., that hang from the rafters of the houses. "Dolls," they are usually called, but the Hopi know that they are representations of the spiritual beings who live in the unseen world, and a great variety there is of them. Thousands of these figures are made by the Hopi, many to be sold to visitors, a thing no Zuñi would do, because in that pueblo these images have a religious character and are hidden away, while the Hopi decorate the houses with them. The carvers of these strange figurines must be granted the possession of much skill and ability in their art, which is carried on with a few simple tools. The country far and near is ransacked for cottonwood, this being the wood prescribed for masks, dolls, prayer-sticks, etc. The soft cottonwood, especially the root, is easily worked with the dull knives that the Hopi possess. On every hand is soft, coarse sandstone for rubbing the wood into shape, and much of the work is not only finished, but formed by this means. For this reason the rocks around a Hopi village are covered with grooves and pits left by the workers in wood. If any parts, such as ears, hair, whorls, etc., are to be added to the figures, they are pegged on quite insecurely. Some of the terraces which surmount the kachina masks are remarkable structures built up of wood pegged together. A little string, a few twigs and pieces of cottonwood suffice the Hopi for the construction of flowers and complicated parts of the decoration of dolls and masks or other ceremonial belongings. Corn husks, dyed horsehair, woolen yarn, deerskin, cotton cloth, twigs, basketry, and feathers are worked in and the result, though crude, is effective.