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MONTEZUMA CASTLE
Montezuma Castle Archeology - Part 2: Textiles |
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TABLE OF CONTENTS
Laboratory methods
Method of presentation
General remarks concerning the specimens
Number and classes of specimens
Materials used
Colors
History of the finds
Probable dates of the specimens
Location of similar specimens
Preliminary notes
Plain weave
Paired wefts
Paired wefts and rag wefts
Weft-wrap openwork
Gauze
Weft-float
Diamond twill
Slit-tapestry
Border techniques
Comparative data
Technical notes and plates
Preliminary notes
Technical notes and plates
Preliminary notes
Technical notes and plates
Preliminary notes
Technical notes and plates
Preliminary notes
Technical notes and plates
Preliminary notes
Technical notes and plates
Preliminary notes
Technical notes
Appendices
Table I — Comparison of three botanical analysesTable II — Materials, weaves, colors of specimens
Table III — Colors
Table IV — Textiles
Table V — Sandals
Table VI — Skirts
Table VII — Cords, braids, ropes
Table VIII — Matting, bag, net
(Note: Table I, page 80, can be used as an Index to specimens.)
LIST OF ILLUSTRATIONS
Plates
1. Photomicrographs of plant materials2. Plain weave, Specimen No. 1
3. Plain weave, Specimen No. 2, 3
4. Plain weave, Specimen No. 6
5. Plain weave, Specimen No. 7, 8
6. Plain weave, Specimen No. 9, 10
7. Plain weave, Specimen No. 14
8. Plain weave, Specimen No. 15
9. Plain weave, Specimen No. 19, 21
10. Plain weave, Specimen No. 55
11. Paired wefts, simple warps, Specimen No. 5
12. Paired wefts, simple warps, Specimen No. 16
13. Paired wefts, simple warps, Specimen No. 39
14. Paired wefts, simple warps, Specimen No. 46
15. Paired wefts, rag wefts, Specimen No. 11
16. Paired wefts, rag wefts, Specimen No. 17
17. Paired wefts, rag wefts, Specimen No. 53
18. Single wefts, rag wefts, Specimen No. 4
19. Single wefts, rag wefts, Specimen No. 54
20. Weft-wrap, Specimen No. 35
21. Weft-wrap, gauze weave, Specimen No. 36
22. Weft-wrap, gauze weave, Specimen No. 37
23. Weft-wrap, gauze weave, Specimen No. 34
24. Gauze weave, Specimen No. 13
25. Weft float, Specimen No. 18
26. Reverse side No. 18, open, and (lower view) No. 18 closed
27. Weft float, Specimen No. 33
28. Weft float, obverse side, Specimen No. 33
29. Diamond twill, Specimen No. 56
30. Slit-tapestry weave, Specimen No. 12
31. Sandals, Specimen Nos. 28, 29, 30, 31, 32
32. Sandals, Specimen Nos. 50, 51
33. Sandal, Specimen No. 25
34. Sandal, Specimen No. 45
35. Sandal, Specimen No. 27
36. Skirt, double fringe, Specimen No. 23
37. Skirt, double fringe, Specimen No. 26
38. Skirt, double fringe, Specimen No. 40
39. Skirt, double fringe, Specimen No. 49
40. Skirt, single fringe, Specimen No. 24
41. Skirt, single fringe, Specimen No. 41
42. Braid, 49-strand, Specimen No. 20
43. Necklace, Specimen No. 47
44. Rope, Specimen No. 48
45. Braids, ties, Specimens Nos. 57, 59
46. Ties, cords, Specimens Nos. 60, 63, 64
47. Matting, Specimens Nos. 42, 43
48. Matting, Specimens Nos. 44, 58
49. Net, Specimen No. 22
50. Bag, Specimen No. 38
Figures
1. Border on Specimen No. 72. Border on No. 8
3. Border on No. 14
4. Border on No. 21
5. Weave of No. 5
6. Weave and border, No. 46
7. Weave of No. 11
8. Weave of No. 17
9. Border of No. 4
10. Bundle wefts of No. 54
11. No. 35, weft-wrap openwork
12. Loom detail for No. 37, weft-wrap openwork
13. No. 34, weft-wrap openwork
14. Possible reconstruction of loom set-up for Specimen No. 18
15. Section of weave of No. 18, showing method of floating the weft
16. Diamond twill with interlocking wefts. Specimen No. 56
17. Chart showing warp stringing for diamond twill, No. 56
18. Slit weave technique and cross section of weave of No. 12
19. Heel strap attachment, No. 28
20. Attachment of toe strap at heel, No. 29
21. Over-one under-one braiding
22. Top of sandal, showing method of attaching heel tie (a) and toe tie (b)
23. Toe strap tie, No. 32
24. Specimen No. 50, sandal
25. Specimen No. 25, sandal
26. Specimen No. 45 showing toe and heel tie attachment
27. Detail of braid sandal, No. 45
28. Specimen No. 27, showing toe and heel tie attachment
29. Weave of No. 27
30. Specimen No. 23, skirt fringe
31. Weave of skirt, No. 26
32. Specimen No. 24, skirt
33. Specimen No. 41, skirt
34. No. 20, 49-strand braid
35. Specimen No. 47, necklace
36. No. 48, three-strand flat braid
37. No. 60, simple three-strand twist
38. No. 63, two-strand twine
39. No. 64, twine
40. No. 42, twilled matting
41. No. 43, matting
42. No. 44, over-three under-three twilled mat
43. No. 22, net
44. No. 38, bag, twined
| U.S. Department of the Interior National Park Service |
Southwestern National Monuments Gila Pueblo, Globe, Arizona |
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This report is published by the Southwestern Monuments Association in keeping with its policy of acquainting interested persons with results of the general program of conservation and research accomplished by the staff and co-workers of the Southwestern National Monuments. Other numbers of the Technical Series, as well as all the numbers of the Popular Series, are listed and described on the back cover of this report. Other technical and popular papers will follow. Notification of publication of papers by the Association will be given, upon date of release, to such persons or institutions as submit their names to the Executive Secretary for this purpose. | |
| Dale S. King, Executive Secretary | Raymond Ramos, Treasurer |
|
BOARD OF DIRECTORS JOHN M. DAVIS, General Superintendent, Southwestern National Monuments, National Park Service, Gila Pueblo, Globe, Arizona, Chairman.HORACE M. ALBRIGHT, New York City ADREY E. BORELL, Oklahoma City, Oklahoma. DR. HAROLD S. COLTON, Flagstaff, Arizona. DR. EMIL W. HAURY, Tucson, Arizona. REV. VICTOR R. STONER, Victoria, Texas ALEXANDER V. WASSON, Santa Fe, New Mexico EXECUTIVE SECRETARY AND TREASURER, ex-officio | |
This little Gambel Quail, as painted in red on a piece of buff pottery by a prehistoric Hohokam Indian artist, is the colophon of the Southwestern Monuments Association. As such, it has appeared on many hundreds of thousands of pieces of stationery, and interpretive booklets, and, through the latter, has become widely known as a symbol of authentic interpretation of the great Southwest.
Strangers are inclined to think him a squawking parrot, but the "upper beak" was really meant to represent the curved feather topknot of this interesting desert bird. The design was copied from a piece of broken prehistoric pottery at Casa Grande National Monument, Arizona.
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Last Updated: 04-Mar-2008
Western National Parks Association