Thenceforward the scroll was
drawn on certain classes of pottery to represent the whirlwind,
modifications of it (for instance, by the color-sign belonging to any
one of the "six regions") to signify other personified winds. So,
also, the semicircle is classed as emblematic of the rainbow (_a' mi
to lan ne_); the obtuse angle, as of the sky (_a' po yan ne_); the
zigzag line as lightning (_wi' lo lo an ne_); terraces as the sky
horizons (_a'wi thlui a we_), and modifications of the latter as the
mythic "ancient sacred place of the spaces" (_Te' thlae shi na kwin_),
and so on.

[Illustration: FIG. 556.--Ancient Pueblo "medicine-jar."]

By combining several of these elementary symbols in a single device,
sometimes a mythic idea was beautifully expressed. Take, as an
example, the rain totem adopted by the late Lewis H. Morgan as a title
illumination, from Maj. J.W. Powell, who received it from the Moki.
Pueblos of Arizona as a token of his induction into the rain gens of
that people. (See Fig. 557, _a_.) An earlier and simpler form of this
occurs on a very ancient "sacred medicine jar" which I found in the
Southwest. (See Fig. 556.) By reference to an enlarged drawing of the
chief decoration of this jar (see Fig. 557), it may be seen that the
sky, _a_, the ancient place of the spaces (region of the sky gods),
_b_, the cloud lines, _c_, and the falling rain, _d_, are combined and
depicted to symbolize the storm, which was the objective of the
exhortations, rituals, and ceremonials to which the jar was an
appurtenance.

[Illustration: _a._ Modern Moki rain symbol.
_b._ Enlarged decoration of "medicine-jar."
FIG. 557.--Decoration of ancient medicine-jar compared
with rain symbol of modern Moki totem.]

Thus, upon all sacred vessels, from the drums of the esoteric medicine
societies of the priesthood and all vases pertaining to them to the
keramic appurtenances of the sacred dance or _Ka' ka_, all decorations
were intentionally emblematic. Of this numerous class of vessels, I
will choose but one for illustration--the prayer-meal-bowl of the _Ka'
ka_. In this, both form and ornamentation are significant. (See Fig.
558.) In explaining how the form of this vessel is held to be symbolic
I will quote a passage from the "creation myth" as I rendered it in an
article on the origin of corn, belonging to a series on "Zuni
Breadstuff," published this year in the "Millstone" of In