Native aesthetics emerged most distinctly, perhaps, in the bracelets made in the last years of the 19th century. Bracelets, after all, were an indigenous form, and when expressed through the European technology of blacksmithing they became an art quite unlike any practiced by Spanish, Anglo or other Native Americans. Southwestern silversmiths made four basic types of bracelets: the early bangles decorated with filing or stamping; two or more bangles soldered in parallel and decorated with stamping and stones; a flat band or cuff decorated with stamping, repoussé or stones; and “open work” cast bracelets left plain or set with stones. A related mosaic technique called “channel inlay” became popular in the 1940s among Zuni jewelers. In this method, the stones are separated by a thin strip of silver. In the late 1930s Hopi jewelry making experienced a sudden transformation with the introduction of a technique called “silver overlay
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