292 PROCEEDINGS OF THE NATIONAL MUSEUM. vol. u4. 



Chiqiiito and have been evidently derived from Mexico. The bell 

 must then be included in the list of Hopi musical instruments. Of 

 the same nature as the bell are trinkets of shells of oUvella and conus, 

 worked or unworked, prevalent in ancient sites, and of hoofs, seeds, 

 etc., occurring on existing religious costumes and paraphernalia. A 

 curious scarecrow, consisting of a ring of twigs wound with cotton 

 cloth, to which are tied, with wool cord, shoulder blades of a sheep 

 and a tin can, is one of the oldest specimens from this region in the 

 United States National Museum. (Cat. No. 9571, collected in 1870 

 by Dr. Edward Palmer.) (See pi. 22, fig. 3.) 



Rattles of peculiar sacredness, made from the shells of the water 

 tortoise, are called yung uh sho na (pi. 51, fig. 5). These animals are 

 collected in the Colorado Chiquito, eviscerated without injury to 

 the shell and the latter brought to the villages for use in the cere- 

 monies. In making the rattle, antelope hoofs are fastened to thongs 

 and sewed to a strip of buckskin provided with a loop to tie through 

 the arch of the shell. A thong is passed through the other arch of 

 the shell for fastening the rattle to the left leg of the dancer just 

 below the knee. The movements of the dancer strike the pendant 

 hoofs against the dome of the shell, producing a sharp sound. Some 

 of these rattles in the National Museum collection are much worn 

 from continual use. The Sia and perhaps other Eio Grande Pueblos 

 bore holes through the shell for the thongs which secure it to the 

 leg. The rattles of hoof fringing the snake kilt are called shi la la^ 

 and when of conical metal tinklers like those used by many Indian 

 tribes, are called shi va mash e. The natural rattle of the dry seed 

 pods of an astragalus used to amuse children are also called shi la la. 



Rattles of which the sounding portion is the shell of a gourd are 

 very common (pi. 50, figs. 1, 3, 4, 5). They are oblate, pear-shape 

 and conical. The handle is of wood, either tapering regularly or 

 with a shoulder formed on it, inserted in openings cut in the shell 

 of the gourd, the latter resting on the shoulder and held by a peg, 

 passing through the projecting end of the handle. In the oblate 

 specimens the handle passes through the gourd horizontally and in 

 the pear and other forms vertically. The handle is short in most 

 cases, but sometimes the gourd is placed at the end of a long stafl' 

 of yucca flower stalk used in one of their ceremonies. A buckskin or 

 cotton cord is passed through the base of the handle for suspension. 

 Gourd rattles are always painted in bright colors and appropriate 

 symbolism, the tendency being toward movement symbols. They are 

 repainted and refeathered at the recurrence of the ceremony for 

 which they are used, but sometimes a worn specimen is employed in 

 soothing a child to sleep or for marking time in the singing classes. 

 Rattles of skin are only used by the Snake, Antelope, and Soyal fra- 

 ternities. They consist of a hoop of wood forming a frame over 



