The rocks all over the Southwest bear witness that the Hopi can draw. In thousands of instances he expressed his meaning in symbols or in compositions representing the chase of the deer or mountain goat. One of these groups on the smooth rocks near Holbrook, Arizona, shows a man driving a flock of turkeys, and is exceedingly graphic. On the cliff faces below Walpi are numerous well-executed pictographs, and occasionally one runs across recent work on the mesa top that excites admiration. With sculpture in the round the Hopi has done nothing remarkable because his tastes and materials have never led in this direction. A few rather large figures rudely carved from soft sandstone may be seen around the pueblos, and numerous fetiches, some of very hard stone, representing wolves, bears, and other animals, are still in the keeping of the societies. Some of these are very well done, but show little progress in sculpture. The visitor must beware of the little fetiches whittled from soft stone and offered for sale as genuine by the guileful Hopi in quest of _shiba_. The industry which the Hopi woman has all in her own hands is basket-making, and the work is apportioned to such as have the skill and fancy for it, as if there were a division of labor. The women of the three towns on the East Mesa do not make baskets at all, those of the Middle Mesa sew only coiled baskets, while the women of Oraibi weave wicker baskets exclusively. Thus, there is no difficulty in saying just where a Hopi basket comes from, and there is also no excuse for not recognizing these specimens of Hopi woman's work at first glance, as they have a strong individuality that separates them from all other baskets of the Indians. If one should visit the most skilful basket-maker of the Middle Mesa, Kuchyeampsi, that modest little woman, might be seen busily at work, and from her a great deal about the construction of coiled baskets could be learned. But it would take some time and patience to find that the grass whose stems she gathers for the body of the coil is named _takashu_, which botanists know as _Hilaria jamesii_, and that the strips which she sews over and joins the coil are from the leaves of the useful _mohu_ (_Yucca glauca_). Then when Kuchyeampsi comes home laden with her basket materials one must take further lessons in stripping the yucca leaves, splitting them with the thumb-nail to uniform size, and dyeing some of them various colors, for which anilines are principally used in these degenerate days. One must have an eye for the colors of the natural leaves of the yucca and select the yellow or yellowish green of the old leaves, the vivid green of the young leaves, and the white of the heart leaves, for the basket weaver discriminates all of these and uses them in her work.