288 COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 



specimen bears the name t)f the Ka-tci-na which it represents. The mothers illus 

 trate ancient traditions by making use of these dolls in giving practical lessons on 

 the symbols of the gods. More than seventy-five distinct classes of Ka-tci-nas are 

 represented by dolls. They are sometimes of clay, but the material prescribed for 

 their manufacture is cottonwood. 



A large number of these personages have fox skins tied around the neck, the char 

 acters emblematic of different gods. 



The dolls are painted with natural colors, emblematic of the four cardinal points. 

 These colors are yellow ocher, malachite, shale, oxide of iron, and white clay. Some, 

 too, are painted with mineral colors bought from Indian traders. 



The vignette at the side represents additional dolls which were not brought with 

 the collection. 



63. Doll representing the mythological being who gave the Indians all kinds of seeds. 



She is called Sa-li-ko-ma-na, and is regarded as the wife of Sa-li-ko, who initi 

 ates the boys in the rites of the priesthoods, according to an ancient legend. 

 The Sa-li-ko-ma-na dolls always have on their heads ornaments forming a 

 ladder, representing the cloud, and curved lines around the mouth, as a repre 

 sentation of the rainbow. 



64. Sa-li-ko-ma-na doll with a feather dress. On the forehead is seen the symbol of 



the panicle, because it was she who first brought corn to the Indians, and on 

 both sides of the head, the symbol of the green gourd. The bow on top of the 

 head represents the rainbow. 



65. Image of Sa-li-ko, the god of corn. He is represented as a giant, and appears as 



such in the ceremonies. The blanket which he wears is a wedding blanket 

 with butterflies on the border. He is always represented with two horns and 

 a crown of eagle s feathers. 



66. Tal-a-wi-pi-ki-ka-tci-na. The lightning Ka-tci-na. He carries in each hand the 



emblem of the lightning. 



67. Image of Ho-tchan-e-ka-tci-na. The black net on the body represents the feather 



dress, and the crown on the head, the eagle s feathers. 



68. The same as the preceding number. 



69. Images with imperfect symbols. 



70. Image of Sio-hu-mis-ka-tci-na, or, god of the green corn placed in a row. The 



festival of this god is celebrated in July and August, at intervals of several 

 years. It is a rite of the ZuEi Indians, introduced into the religion of the 

 Tusayan Indians. 



71. Images of the gluttonous priests, who amuse the spectators at the sacred dances 



during their celebration by eating immoderately and performing all kinds of 

 fooleries. These gluttons belong to a very ancient organization or priesthood, 

 and some of their rites are immoral. To this same order belong others who 

 wear masks, with balls of clay or bags of seeds on top of their heads. These 

 are called &quot; mud-heads&quot; or clowns. 



72. Image of Ma-lo-ka-tci-na, whose festival is celebrated in July. The symbolism 



is identically the same as that of the helmets which are used in the festivals. 



73. Image of the Hu-mis-ka-tci-na, or, god of the green corn placed in a row. His 



festival is celebrated in August and is one of the most interesting religious 

 rites of these nations. They frequently combine it with the departure of the 

 gods, and regard it as very sacred. 



74. Sa-li-ko-ma-na. 



75. Sa-li-ko-ma-na. 



76. Sa-li-ko-ma-na. 



77. Image of the mother of the monsters, who appears in the village every year ; she 



is the bugbear of bad children. Men with large helmets in imitation of the 

 heads of reptiles represent the monsters. 



