FEWKES] ANCIENT HOPI HAIR DRESSING 663 
While one of the two figures shown in plate CXxrx, e, is valuable as 
affording additional and corroborative evidence of the character of the 
ancient coiffure of the women, its main interest is of a somewhat dif. 
ferent kind. Two figures are rudely drawn on the inside of the basin, 
one of which represents a woman, the other, judging from the character 
of the posterior extremity of the body, a reptilian conception in which a 
single foreleg is depicted, and the tail is articulated at the end, recalling 
arattlesnake. Upon the head is a single feather;! the two eyes are 
represented on one side of the head, and the line of the alimentary tract 
is roughly drawn. The figure is represented as standing before that of 
the woman. 
With these few lines the potter no doubt intended to depict one of 
those many legends, still current, of the cultus hero and heroine of her 
particular family or priesthood. Supposing the reptilian figure to be a 
totemic one, our minds naturally recall the legend of the Snake-hero 
and the Corn-mist-maid? whom he brought from a mythic land to dwell 
with his people. 
The peculiar hairdress is likewise represented in the figures on the 
food basin illustrated in plate Cxx1x, ¢c, which represent a man and 
awoman Although the figures are partly obliterated, it can easily be 
deciphered that the latter figure wears a garment similar to the kwaca 
or dark-blue blanket for which Tusayan is still famous, and that this 
blanket was bound by a girdle, the ends of which hang from the 
woman’s left hip. While the figure of the man is likewise indistinct 
(the vessel evidently having been long in use), the nature of the act in 
which he is engaged is not left in doubt.’ 
Among the numerous deities of the modern Hopi Olympus there is 
one called Kokopeli,* often represented in wooden dolls and clay 
images. From the obscurity of the symbolism, these dolls are never 
figured in works on Tusayan images. The figure in plate OXXxrx, d, 
bears aresemblance to Kokopeli. It represents a man with arms raised 
in the act of dancing, and the head is destitute of hair as if covered 
by one of the peculiar helmets used by the clowns in modern ceremo- 
nials. As many of the acts of these priests may be regarded as 
obscene from our point of view, it is not improbable that this figure 
may represent an ancient member of this archaic priesthood. 
’The reason formy belief that this is a breath feather will be shown under the discussion of feather 
and bird pictures. 
2 Por the outline of this legend see Journal of American Bthnology and Archeology, vol. tv. The maid 
is there called the Teiia-mana or Snake-maid, a sacerdotal society name for the Germ goddess. ‘The 
same personage is alluded to under many different names, depending on the society, but they are all 
believed to refer to the same mythic concept. 
sThe attitude of the male and female here depicted was not regarded as obscene; on the contrary, 
to the ancient Sikyatki mind the picture had a deep religious meaning. In Hopi ideas the male is a 
symbol of active generative power, the female of passive reproduction, and representations of these 
two form essential elements of the ancient pictorial and graven art of that people. 
‘The doll of Kokopeli has a long, bird-like beak, generally a rosette on the side of the head, a hump 
on the back, and an enormous penis. It is a phalhe deity, and appears in certain ceremonials which 
need not here be described. During the excavations at Sikyatki one of the Indians called my atten- 
tion to a large Dipteran insect which he called * Kokopeli.”’ 
