302 COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 



52. Diagram of the room in which the offerings are made at the summer solstice. 



The offerings made at the same epoch. 



53. The Old scold; personage with a mask, who takes part in Zuni ceremony. 



54. Ka-tci-na, or sacred dance. 



55. Offering made to the gods of the cardinal points at the festival of the farewell 



of the Ka-tci-nas. 



56. Ceremony for rain, called the &quot; Ducking of the Clowns.&quot; The ten naked priests 



called Clowns go around the pueblo singing traditional songs, and the women, 

 who are on the roofs of their houses, pour water upon the heads of the priests 

 or throw handfuls of flour on them. 



57. Aua-ka-tci-na, a rain dance. In making these pictures and photographs the 



natural tendency of the Indians not to consent to the taking of photographs 

 of their religious ceremonies has been encountered. They believe that by 

 means of sorceries the likeness of a person or of an object may be used to 

 exert an evil influence on them, and for this reason they have an extreme dis 

 trust of the photographic apparatus. 

 The pueblo of Zuni, in which some of the photographs were taken, is not in the 



province of Tusayan, but an adjoining territory, the civilization of both peoples 



being remarkably alike. 



BURIAL FOOD BOWLS. 



The collection of burial bowls contains some of the best specimens of the ancient 

 pottery, and displays the symbolism of the ancient Ho-pi. Almost all were found 

 in the sand hills near the ruins of A-wa-to-bi. During four days they filled these 

 vases with food for the dead, and did not usually bring broken vases as they do now. 

 The corpse had its legs doubled close to the body, and was generally buried looking 

 toward the east. The strong winds which sweep the sand hills disinter a skeleton 

 from time to time and show the presence of these vases. The hillocks which sur 

 round the graves also contain fragments of ancient vases. 



These burial bowls usually have symbols painted on the inside, the meaning of 

 which the present Indians do not know. In general, these figures are simple, of a 

 single color, representing the cloud, tadpoles, offerings to the gods, and occasionally 

 flowers, insects, and birds. On the outside they have not usually more than the 

 border of the bowl and offerings to the gods. 



STARS ON THE WALL. 



The four stars on the wall and the three bows over the windows are made of baskets, 

 on which are seen the different decorations with which the Indians embellished this 

 class of objects. The baskets which the Ho-pi made are of two distinct classes, 

 the respective characters of which are best observed in those over the windows. 



The Indians use them for carrying bread or flour, and they are a very common 

 article in the interior of every house. In the ceremony of La-la-kon-ti those who 

 take part in it carry them in their hands, and throw them at the spectators as 

 presents. 



These baskets were made by the Indians of Tusayan, and are characteristic of this 

 tribe. They have figures painted on them in the colors of the country, reproducing 

 symbolism of religious or profane subjects. 



The class of baskets with a continuous spiral is made in the second mesa; the 

 other kind in O-rai-bi, the most populous and least civilized of all the pueblos 

 of Tusayan. When the outer end of the spiral remains loose the fact is symbolic, 

 and has the same meaning as the unclosed band with which some of the ancient 

 and modern vases are ornamented. The inhabitants of the first mesa do not make 

 these baskets. 



BLANKETS NAILED TO THE WALL. 



The blankets covering the walls of the room of the Hemenway collection were 

 made by the Navajo Indians, who are nomadic, and are neighbors of the Tusayan 

 Indians. The figures are symbolic, representing star, lightning, and other gods. 



