pictures of human beings are present has
yet been figured. The sequence of evolution in designs is believed to
be (1) geometrical figures, (2) birds, (3) other animals, (4) human
beings.]

[Footnote 122: In some of the figurines used in connection with modern
Hopi altars these whorls are represented by small wheels made of
sticks radiating from a common juncture and connected by woolen yarn.]

[Footnote 123: The natives of Cibola, according to Castaneda, "gather
their hair over the two ears, making a frame which looks like an
old-fashioned headdress." The Tusayan Pueblo maidens are the only
Indians who now dress their hair in this way, although the custom is
still kept up by men in certain sacred dances at Zuni. The country
women in Salamanca, Spain, do their hair up in two flat coils, one on
each side of the forehead, a custom which Castaneda may have had in
mind when he compared the Pueblo coiffure to an "old-fashioned
headdress."]

[Footnote 124: _American Anthropologist_, April, 1892.]

[Footnote 125: Troano and Cortesiano codices.]

[Footnote 126: A _nakwakwoci_ is an individual prayer-string, and
consists of one or more prescribed feathers tied to a cotton string.
These prayer emblems are made in great numbers in every Tusayan
ceremony.]

[Footnote 127: The evidence afforded by this bowl would seem to show
that the cult of the Corn-maid was a part of the mythology and ritual
of Sikyatki. The elaborate figures of the rain-cloud, which are so
prominent in representations of the Corn-maid on modern plaques,
bowls, and dolls, are not found in the Sikyatki picture.]

[Footnote 128: The reason for my belief that this is a breath feather
will be shown under the discussion of feather and bird pictures.]

[Footnote 129: For the outline of this legend see _Journal of American
Ethnology and Archaeology_, vol. IV. The maid is there called the
Tcuea-mana or Snake-maid, a sacerdotal society name for the Germ
goddess. The same personage is alluded to under many different names,
depending on the society, but they are all believed to refer to the
same mythic concept.]

[Footnote 130: The attitude of the male and female here depicted was
not regarded as obscene; on the contrary, to the ancient Sikyatki mind
the picture had a deep religious meaning. In Hopi ideas the male is a
symbol of active generative power, the female of passive reproduction,
and representations of these two form essential elements of the
ancient pic