662 EXPEDITION TO ARIZONA IN 1895 (ETH, ANN. 17 
Plate CXxIx, b, represeuts a food-basin, on the inside of which is 
drawn, in brown, the head and shoulders of a woman. On either side 
the hair is done up in coils which bear some likeness to the whorls 
worn by the present Hopi maidens. It must be borne in mind, how- 
ever, that similar coils are sometimes made after ceremonial head- 
washing, and certain other rites, when the hair is tied with corn husks. 
The face is painted reddish, and the ears have square pendants similar 
to the turquois mosaics worn by Hopi women at the present day. 
Although there is other evidence than this of the use of square ear- 
pendants, set with mosaic, among the ancient people—and traditions 
point the same way—this figure of the head of a woman from Sikyatki 
leaves no doubt of the existence of this form of ornament in that 
ancient pueblo. 
However indecisive the last-mentioned picture may be in regard to 
the coiffure of the ancient Sikyatki women, plate CXxxIx, a, affords 
still more conclusive evidence. This picture represents a woman of 
remarkable form which, from likenesses to figures at present made in 
sand on an altar in the Lalakonti ceremony,! I have no hesitation in 
ascribing to the Corn-maid. The head has the two whorls of hair very 
similar to those made in that rite on the picture of the Goddess of 
Germs, and the square body is likewise paralleled in the same figure. 
The peculiar form is employed to represent the outstretched blanket, a 
style of art which is common in Mayan codices.” On each lower cor- 
ner representations of feathered strings, called in the modern ritual 
nakwdkwoci,® are appended. The figure is represented as kneeling, 
and the four parallel lines are possibly comparable with the prayer- 
sticks placed in the belt of the Germ goddess on the Lalakonti altar. 
In her left hand (which, among the Hopi, is the ceremonial hand or 
that in which sacred objects are always carried) she holds an ear of 
corn, symbolic of germs, of which she is the deity. The many coinci- 
dences between this figure and that used in the ceremonials of the 
September moon, called Lalakonti, would seem to show that in both 
instances it was intended to represent the same mythic being. 
There is, however, another aspect of this question which is of inter- 
est. In modern times there is a survival among the Hopi of the cus- 
tom of decorating the inside of a food basin with a figure of the 
Corn-maid, and this is, therefore, a direct inheritance of ancient meth- 
ods represented by the specimen under consideration. A large majority 
of modern food bowls are ornamented with an elaborate figure of Calako- 
mana, the Corn-maid, very elaborately worked out, but still retaining 
the essential symbolism figured in the Sikyatki bowl. 
1American Anthropologist, April, 1292. 
2Troano and Cortesiano codices. 
3A nakwakwoci is an individual prayer-string, and consists of one or more prescribed feathers tied 
toa cotton string. These prayer emblems are made in great numbers in every Tusayan ceremony. 
4The evidence afforded by this bowl would seem to show that the cult of the Corn-maid was a part 
of the mythology and ritual of Sikyatki. The elaborate figures of the rain-cloud, which are so prom- 
inent in representations of the Corn-maid on modern plaques, bowls, and dolls, are not found in the 
Sikyatki picture. 
