202 Field Columbian Museum — Anthropology, Vol, III. 



handed to Polihungwa, who took them with him to a corner on the 

 platform. To this beginning of the noonday meal were added now a 

 tray of piki, a tray of commnki and a bowl containing a pinkish 

 colored food made of boiled cornmeal. Upon handing the food to 

 Polihungwa, Namurztiwa stooped down and with his thumb and 

 forefinger took up from the fireplace a pinch of ashes, upon which he 

 spat and then, with a short, quick motion, cast it once to each of the 

 four directions and then up the ladder.* He then joined Polihungwa 

 and the boys on the banquette, where Shakhungwa and Sikangpu had 

 already gone, and where all made a hurried meal. After eating a few 

 moments, Sikangpu began on the west side of the sand mosaic, divid- 

 ing the white band from the outside white field, while Shakhungwa 

 did the same on the east and south. 



This practically finished the sand picture, the making of which 

 had consumed about four hours' time, it now being half-past three 

 • o'clock. The men had not worked long upon the picture until it 

 became perfectly apparent that there was no general order of pro- 

 cedure. As each man seated hirnself on one side of one corner, he 

 did the work which was nearest him and which caused the least incon- 

 venience to his neighbor. This was made possible from the fact that 

 they were provided with several sets of the same colore '•■ earths, so 

 that when one had worked on a white cloud symbol, for instance, in 

 one corner, he could take up the work on the neighboring green cloud 

 and so not interfere with another priest who might be working in the 

 center of the picture. It was also apparent that Shakhungwa was 

 really the leading spirit in the making of the picture. Not only did 

 he lead the way in marking out the symbols, but he assumed the 

 leadership in the actual application of the colored earths and was 

 constantly referred to by the other priests for advice. The earths 

 used in the mosaic, with their individual names, were as follows: 

 Sika iuwa (yellow sand), CoJioninsakiua (Cohonino green), Pala oa 

 (red stone), Qotca oa (white stone). These earths had been provided 

 for by Polihungwa, who also brought them into the kiva. At the 

 conclusion of the construction of the mosaic, the paints were again 

 emptied from the bowls into small cotton sacks by Sikangpu and 

 were taken by Polihungwa to his house (see PL XCI). 



In its finished condition (see PI. XCII), the extreme measure- 



*This performance is called naivohchionani, and is done after some special work, in this case 

 undoubtedly the making of the sand mosaic, which is believed to have a special charm on the per- 

 former, or, for that matter, on any object which would have an evil influence if being brought in 

 contact with any uninitiated. The junior author observed on several occasions in the Oraibi 

 Snake ceremony that objects, before being handed or taken out of the Snake kiva, were thus dis- 

 charmed. The same is done with sprin^^s from which the snake hunters drink. At the conclusion 

 of every important Hopi ceremony all participants are discharmed by the chief priest. 



