FEWKES] COMPARISONS WITH OTHER ALTARS 995 
slats of wood without a transverse portion. Figurines of the Flute 
youth and the Flute maid are present, but there is no statuette of 
Mitiyinwi as at Mishongnoyi and Walpi. There are two tiponis and 
two talastcomos. The sand zone and row of birds are present, and a 
very characteristic row of rods stands vertically in front of the 
reredos, where the sticks of zigzag and other forms are found in 
known Flute altars. In the absence of an upper crosspiece to the 
reredos the four sticks representing lightning hang from the roof of 
the room. 
The great modifications in the Shipauloyi' altar lead the writer to 
suspect that the altar is more nearly like that of Shumopovi than any 
other, but until something is known of the altars of the latter pueblo 
this suggestion may be regarded as tentative. 
The altar Macileftya (Drab Flute) at Shipauloyi differs in many 
respects from that at Mishongnovi, but is in a way comparable with 
that at Oraibi. The reredos consists of several sticks, some cut into 
zigzag forms, symbolic of lightning, but there is no transverse slat, 
as at Mishongnovi and Oraibi. A flat stick upon which is painted a 
zigzag figure of a lightning snake, elsewhere figured,’ is interesting in 
comparison with figures on the Antelope altar at Shumopovi. The 
four lightning symbols drawn in sand in the mosaic of this altar have 
horns on their heads, and depending from the angles of the zigzags of 
the body are triangular appendages, representing turkey feathers, 
similar to those which are depicted on the Flute slab to which refer- 
ence is made above. Although the Antelope altar in the Shipaulovi 
Snake ceremony has no such appendages to the lightning symbols, it 
is interesting to find these characteristic appendages in symbolic figures 
used in related ceremonies, where their presence is one more evidence 
of close relationship between the two pueblos and of the late deriva- 
tion of the ceremonials of Shipauloyi from Shumopovi. 
The position of the image of Cotokinuiwt in the Oraibi Flute altar 
yas occupied, in the ShLipaulovi Macilenya altar, by a statuette of 
Taiowa. Studies of this figurine were not close enough to allow the 
author to decide whether Taiowa, as represented on the Shipaulovi 
altar, is the same as Cotokinunwit, but it is highly probable that the 
two bear intimate relationship. This figurine is absent from the 
Oraibi altar, but the pathway or zone of sand, with the birds, the row 
of feathers, and the decorated slab before it on the Shipaulovi altar 
are comparable with like parts of a similar altar at Mishongnoyi. 
There remain undescribed the Flute altars of Shumopovi, the ritual 
1Shipauloyi, ‘High Peach Place,” was founded after the advent of the Spaniards, probably later 
than 1700. Unlike Mishongnovi and Shumopovi, there is no ruin at the foot of the mesa which is 
claimed as the former home of the ancestors of this pueblo. Tcukubi, the nearest ruin, appears to 
have been deserted before the sixteenth century, and the adjacent Payiipki was a Tewa pueblo 
whose inhabitants left it in a body in the middle of the eighteenth century, and are said to have 
settled at Sandia, on the Rio Grande. 
2Journal American Ethnology and Archeology, vol. 1, p. 120. 
