472 ANNUAL REPORT SMITHSONIAN INSTITUTION, 1926 
mana, a tutelary goddess of the woman’s society, the Lalakontu, 
whose ceremonials in September have been described elsewhere.* 
The two vertical wooden slats, one on each side of the uprights, 
bear pictures of the same personage, probably Tunwupkatcina, on 
whose head is a fan-shaped crest of feathers. On each side the 
head has a horn, at the extremity of which hangs a symbolic feather. 
The human figures have characteristic markings on their fore- 
heads, and their bodies are black, dotted with white spots. 
There is no mistaking the symbolism of the remaining idol stand- 
ing at the right of the altar, as an image of Puukonhoya, the “ Little 
War God,” whose characteristic features are the parallel marks on 
the body, and the weapons of war in his hands. 
Several sticks, cut in zigzag shapes with curved appendages and 
short crossbars at one end, stand between the uprights of the reredos. 
From their forms, these objects may readily be identified as lightning 
symbols so common in all Tusayan altars. One of these, which has 
a complicated tip or head, is placed close to the outstretched arm of 
Cotokinungwu, with whom it is naturally associated. The straight 
rod leaning on the same arm is possibly a cornstalk symbol. The 
rounded stick, tapering at one end, which stands under the extended 
left hand of the image on the left, is probably a symbol of maize. 
A somewhat larger pointed object, painted at its base with zones of 
yellow, green, red and white, and surmounted by a feather, is called 
“the mound” and suggests the kaetukwi or Corn Mound of the 
Lalakontu, being similarly situated to an image on the left of this 
altar. The surface of the latter object, however, instead of being 
painted, is encrusted ® with clay covered with different kinds of seeds. 
The crook at the extreme left of the altar has attached to it an 
object which resembles the paddle carried by a participant in the 
Heheakatcina, or public ceremonial of the Niman at Walpi. 
Four pahos, or prayer-sticks, are placed at intervals in hillocks of 
sand before the images on the altar. The Katcina tiponi,® or badge 
of the chief, stands on the floor before the altar. 
Just in advance of the left-hand idol—the image with a coronet— 
there is a small oblong basket in which are laid a number of sticks 
with feathers, seeds, and pinches of meal. This is called the 
“Mother,” and recalls similar objects which have been observed 
on the Lalakontu altar, whose contents have been described else- 
where.” 
4Amer. Anthrop., vol. 5, No. 2, April, 1892, Pl. I, fig. 1; Pl. III, figs. 1 and 2. 
5 The Hopi, ancient and modern, were adepts in this craft of mosaic encrustations, using 
for that purpose turquoises, shells, and other substances. 
6 The chief who flogs the children in the initiation, which occurs in Powamu, holds this 
object in his hand. This flogging at Walpi is performed by a man masked to represent 
Tunwup. Int. Archiv fiir Ethnog., Band viii, 1895. 15th Ann. Rep. Bur. Amer. Ethnol., 
pp. 283-284. 
7Amer. Anthrop., vol. 5, No. 2, April, 1892. 
