One of the Portable Houses bought by the U. S. Indian Department. The rear house was erected by the Indians themselves, and is the home of Senora Salvadora Valenzuela and her daughters.
Two Pala Indian Maidens.
Pala Boys at Work on the Farm.
And how wonderfully those fingers handle the splints. No white woman has ever surpassed, in digital dexterity, these native Indians. Do you wonder? Watch this weaver day after day as her basket grows. A week, two, three, a month, two, three months pass by, and the basket is not yet finished. Time as well as creative skill and digital dexterity are required to make a basket, and it is no uncommon thing to find three, four and even five or six months consumed before the basket is done, and the weaver's heart is secretly rejoiced by the beauty of the work.
Is it surprising that the Indian often refuses to show, even when she knows she can make a sale, the latest product of her skill? The work is the joy of her heart; she has met the true test of the artist—she loves her work and, therefore, joys in it—how can she sell it? So when you ask her if she has a basket to sell she shakes her head, and when, days or weeks later, pressed by a real or fancied necessity, she brings it out and offers it for sale, you inwardly comment—perhaps openly—upon the untruthfulness of the Indian, when, in reality, she meant to the full her negative as to whether she had a basket to sell.
There are many skilful and accomplished basket weavers at Pala, who genuinely love their work. They are preserving for a prejudiced portion of the white race, proofs of an artistic skill possessed for centuries by this despised aboriginal race, and, at the same time, give delight, pleasure, joy and kindlier feelings to those of the white race who feel there is a fundamental truth enunciated in the doctrines of the universal Fatherhood of God, and the Brotherhood of Man.