| ORAIBI. | |||
|---|---|---|---|
| 1. | Tdau kiva | Tda´uollauwuh | The singers. |
| 2. | Ha´wiobi kiva | Ha´wi, stair; | High stair place. |
| 3. | Ish kiva | Isa´uwuh | Coyote, a gens. |
| 4. | Kwang kiva | Kwa´kwanti | Religious order. |
| 5. | Ma´zrau kiva | Ma´mzrauti | Female order. |
| 6. | Na´cabi kiva | Half way or | Central place. |
| 7. | Sa´kwalen kiva | Sa´kwa le´na | Blue Flute, a religious order. |
| 8. | Po´ngobi kiva | Pongo, a circle | An order who decorate themselves with circular marks on thebody. |
| 9. | Hano´ kiva | Ha´nomuh | A fashion of cutting the hair. |
| 10. | Motc kiva | Mo´mtci | The Warriors, an order. |
| 11. | Kwita´koli kiva | Kwita, ordure; | Ordure heap. |
| 12. | Katcin kiva | Katcina | A gens. |
| 13. | Tcu kiva | Tcua, a snake | Religions order. |
| Tdau kiva is the mungkiva. | |||
[ DETAILS OF TUSAYAN AND CIBOLA CONSTRUCTION.]
[ WALLS.]
The complete operation of building a wall has never been observed at Zuñi by the writer, but a close examination of numerous finished and some broken-down walls indicates that the methods of construction adopted are essentially the same as those employed in Tusayan, which, have been repeatedly observed; with the possible difference, however, that in the former adobe mud mortar is more liberally used. A singular feature of pueblo masonry as observed at Tusayan is the very sparing use of mud in the construction of the walls; in fact, in some instances when walls are built during the dry season, the larger stones are laid up in the walls without the use of mud at all, and are allowed to stand in this condition until the rains come; then the mud mortar is mixed, the interstices of the walls filled in with it and with chinking stones, and the inside walls are plastered. But the usual practice is to complete the house at once, finishing it inside and out with the requisite mortar. In some instances the outside walls are coated, completely covering the masonry, but this is not done in many of the houses, as may be seen by reference to the preceding illustrations of the Tusayan villages. At Zuñi, on the other hand, a liberal and frequently renewed coating of mud is applied to the walls. Only one piece of masonry was seen in the entire village that did not have traces of this coating of mud, viz, that portion of the second story wall of house No. 2 described as possibly belonging to the ancient nucleus pueblo of Halona and illustrated in [Pl. LVIII]. Even the rough masonry of the kivas is partly surfaced with this medium, though many jagged stones are still visible. As a result of this practice it is now in many cases impossible to determine from mere superficial inspection whether the underlying masonry has been constructed of stone or of adobe; a difficulty that may be realized from an examination of the views of Zuñi in Chapter III. Where the fall of water, such as the discharge from a roof-drain, has removed the outer coating of mud that covers stonework and adobe alike, a large proportion of these exposures reveal stone masonry, so that it is clearly apparent that Zuñi is essentially a stone village. The extensive use of sun-dried bricks of adobe has grown up within quite recent times. It is apparent, however, that the Zuñi builders preferred to use stone; and even at the present time they frequently eke out with stonework portions of a house when the supply of adobe has fallen short. An early instance of such supplementary use of stone masonry still survives in the church building, where the old Spanish adobe has been repaired and filled in with the typical tabular aboriginal masonry, consisting of small stones carefully laid, with very little intervening mortar showing on the face. Such reversion to aboriginal methods probably took place on every opportunity, though it is remarkable that the Indians should have been allowed to employ their own methods in this instance. Although this church building has for many generations furnished a conspicuous example of typical adobe construction to the Zuñi, he has never taken the lesson sufficiently to heart to closely imitate the Spanish methods either in the preparation of the material or in the manner of its use. The adobe bricks of the church are of large and uniform size, and the mud from which they were made had a liberal admixture of straw. This binding material does not appear in Zuñi in any other example of adobe that has been examined, nor does it seem to have been utilized in any of the native pueblo work either at this place or at Tusayan.
Fig. 32. A Zuñi chimney,
showing pottery fragments
embedded in its adobe base.
Where molded adobe bricks have been used by the Zuñi in housebuilding they have been made from the raw material just as it was taken from the fields. As a result these bricks have little of the durability of the Spanish work. [Pl. XCVI] illustrates an adobe wall of Zuñi, part of an unroofed house. The old adobe church at Hawikuh ([Pl. XLVIII]), abandoned for two centuries, has withstood the wear of time and weather better than any of the stonework of the surrounding houses. On the right-hand side of the street that shows in the foreground of [Pl. LXXVIII] is an illustration of the construction of a wall with adobe bricks. This example is very recent, as it has not yet been roofed over. The top of the wall, however, is temporarily protected by the usual series of thin sandstone slabs used in the finishing of wall copings. The very rapid disintegration of native-made adobe walls has brought about the use in Zuñi of many protective devices, some of which will be noticed in connection with the discussion of roof drains and wall copings. Figs. 32 and 33 illustrate a curious employment of pottery fragments on a mud-plastered wall and on the base of a chimney to protect the adobe coating against rapid erosion by the rains. These pieces, usually fragments from large vessels, are embedded in the adobe with the convex side out, forming an armor of pottery scales well adapted to resist disintegration, by the elements.
