Phoenix Union High School - Phoenician Yearbook (Phoenix, AZ)

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' , am 7 i Gf prehistoric peopfe wiffz a primlflve but progressive cuffure. nhahited the great Southwest, tiving on the plains, in the vatteys and high in tts and atop precipitous ctitts, as the time and occasion demanded, for security. happiness. at Ancient Civilization pictures a composite view ot hte in the civilization :tore the white man's discovery of the North American continent, where existed aasting a wett advanced cutture. hed ard Fifty years ago, and, according to some authorities, scverat centuries Ho-ho trams fthose who have gone heforej lived in this territory, and during the 'heir - 'cupation of the tand achieved complex feats of construction and crafts- he a' ist depicts them as of great stcitt in engineering and artistic projects. 'dty the two greatest problems facing these peopte were defense and an adequate at' supply. The First was solved hy matcing their houses fortresses. To sotve the ,ID vast irrigation systems of which the artist found ready evidence at Pueblo it Phoenix, and throughout the Salt River Vattey and the state. ie' .quaw at the right ot the panet is engaged in decorating a shattow dish. Of :at pottery made and used hy the Ho-ho-teams there was plain red ware. Dead- -n white and htactc on gray, red and hrown and potychrome. At the Museum v , 5 t Q i i i N Spanish gm of Northern Arizona at Ftagstatt, Heard Ntuseum, Puehto Grande, Arizona tx the Department of Library and Archives Ntuseum- att in Phoenix- and at tht of Arizona Museum at Tucson, examples of these types may he seen. The indians shown here are carrying on their daity wort: in their chit dw an overhanging shelf of roctc. Farther down in the vattey a communal house on a tcnott. Puehto Grande is a ruin of this type ot dwelling, and the modem would he the Hopi puehtos in the northern part of the state. The targe hui' vattey near the irrigation canal is a compound. tn the panel Htvtissionary Era the artist presents the second important era'- of the Spaniards-the Conquistadores to exploit the tand and Indians, and th impart their faith and learning to the natives. The Conquistadores tootc muc little, hut to the great .tesuit and Franciscan fathers who Came to this territory to spread their faith, we owe a deht of gratitude, for it was they who taid the for the present-day civilization. Vv'hen the tht-ine of the murals was stitt in a nehutous state, Datus made a Arizonays history, Az this time it was thought to matte the murats a series of in toricat events and incidents. This was discarded in favor ot huitding the murat

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I 5 5 Gfncierzf Grvilizafrm 4 kzizorzcz J CLQEQI'2f of.f'zo9fz515, By GUY L, JACKSON Visitors to the Arizona Department of Lihrary and Archives have said that Jay Datus has produced an uepic in oils, referring to the murals which adorn the iihrary foyer and main office on the third Hoor of the capitol in Phoenix. ln the paintings the muralist has emphasized periods rather than events, types rather than individuals, the character of people rather than of persons. the collective achievements of men and women who never gained fame hut who did their parts faithfully and weu, rather than the roles of any one or a few of them. The nameless characters, denizens of a prehistoric day, Indians, Conquistadores, mission- aries, trappers, traithlazers, prospectors, mountainmen, miners, mulesicinners, soldiers, colo- nists, range fotlc, forerunners of reciamationHhuiiders of Arizona'-au these are the actors in the Arizona Pageant of Progressf' - With few tools, and poor ones, to wort: with, these forerunners of today used weH what they had, gouged deeply and carved a state. The library murals signify the importance and depict the physical attrihutes of the types and groups that laid the foundations of Arizona and whose descendants constitute the hutwarlc of the future. In arriving at the'various units to he represented in the primary theme of the murals the artist deived deep into the prehistoric and ancient civihzations which. many hundreds of 1 years ago, the cliff wt health andl The muf centuries hi a people sa hunt earlier, the? period of manship. Undoub' food and 1 other they Grande, es' The seed other typed man's LI

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cgpczc e mokle ciigna ln another panel of the Apache series a party ot raiders plans an amhush of a covered wagon train-a scene enacted many times during Arizonafs udarlc and hloody days of the '7OlS and '8o's. This is the harsh note struclc in the third panel of the four. The attire of the renegades, typical of Geronimo's men, is terrifying, where 'others thus clothed would loolc only ridiculous. lndeed, everything ahout the Apache warriors of the time was terrifying. The Apaches tattooed their faces in darlc hlue geometrical designs. Their foreheads and chins were some- times painted in other hright colors. The eyehrows were pluclced out, giving a ferocious expressiong their hair hung loose heneath gaudy head-hands and the men wore eagle feathers in it on important occasions. The face of the standing hrave is adorned with war paint-three horizontal lines of hlue. His rifle is ot the period and he carries extra cartridges between the Fingers of his tree hand-an old Apache custom- in order that he may more rapidly tire his single shot rifle. The Apaches had more than one way in which they painted their faces. Professor Franlc C. Loclcwood in his hoolc The Apache lndiann tells of hlue paint that was often used for war-paint, and many photo- graphs in Nlcclintoclcs history show the different methods of applying it. The standing hrave in the Apache panel to the right of the Pioneer panel shows one of the designs for war-paint most commonly used- three horizontal lines of hlue paint on each cheelc. When the trihe was sore pressed and forced to malce a last-ditch stand they used another type of face painting. They covered the whole face with hlaclc paint and smeared vermilion paint on their hair. The effect was terrifying--which was the intention of the hideous application. Research on the Apache indians was in some respects easier than for the ancient indians. The artist was ahle to secure tirst-hand infor- mation ahout them. in some cases from the Apaches themselves. On the other hand there has not hecn much collected ahout them in museums hecause they are a comparatively recent people, and their nomadic hahits malce them dithcult to lcnow. For example, the information that Belvado and Milce Nelson, the ex-Apache scouts, gave concerning the use of the smolce signals did not agree fully with reliahle information Mr. Winsor had collected from authentic sources. During the conference the Apaches indicated that they were not on friendly terms with other branches of the Apache trihe hecause of slightly ditterent customs and accents. From this the conclusion was drawn that Nelson and Belvado would have heen in a position to lcnow smolse signals only of their own hranch of the trihe. The meaning of the smolce signals was determined to carry in general this significance: Une smolce means uattentionng two smolces indicate a peaceful camp near lay, three smolces, Hdangerug many smolces fmore than threej means Hgreat danger, gather for defense or attaclcf' Ot interest in connection with the Apache Smolce Signal panels is the representative exhihit of Arizona arts and crafts, hoth primitive and modern. Archaeological artifacts, historical relics and other ohjects of interest pertaining to the state may he seen, and are heing added to constantly. A particularly interesting phase of this worlc is the exhihit of the crafts of Arizona lndians, the personal collection of Edwin S. Curtis, author of the famous and highly authoritative worlc in twenty volumes, HNorth American lndiansf' This collection, gathered on Arizona reservations in IQOQ hy Mr. Curtis, also contains three large portfolios of Mr. Curtis' extraordinary photographic studies of Arizona lndians.