STEVENSON] ORIGIN OF THE FRATERNITIES 425 



A'pachu were friendly with the Zufiis and Mii''kwc when they first 

 came through Ji'mi'kianapkiatea, but they did not attach proper 

 importance to the a'mosi (directors) of the Zunis, who resented tlie 

 slight and insisted upon going to war. The A'pachu did not wish to 

 fight, but the Zunis attacked them and drove them to the north. 



The pottery drums of the fraternities are curled at the mouth, 

 which prevents any slipping of the rope that fastens the deerskin 

 which is stretched over the opening. These drums are vase-shaped, 

 and have a ground color of white or cream, and are generally deco- 

 rated with cougars, bears, and snakes. The beasts are usually repre- 

 sented in combat with one another; the snakes likewise. Some rare 

 old specimens of these drums were secured >)y Mr Stevenson and 

 deposited in the National Museum at Washington. 



The tablet altars of the fraternities are made in sections, and when 

 not in use are stored away. They are freshly decorated for ceremo- 

 nials, as the Zunis have not acquired the art of permanent coloring. 

 The altars and dry paintings which appear in the ceremonials are 

 referred to as t&sh'kwi (not to be touched). The number of ofiicers 

 varies in different fraternities. The a'kwamosi (maker of medicine 

 water) sits north of the altar, and his pe'kwin (deputy) sits south of it. 

 The flutist, with rare exceptions, sits behind the altar while he plays. 

 Great care is observed in washing the hair in yucca suds and bath- 

 ing for ceremonials, since an unclean person is most offensive to the 

 tutelary gods. The bath is repeated in the morning and evening of 

 each day during the meetings, the men frequently taking their morn- 

 ing baths in the river, at other times disrobing to the breechcloth and 

 bathing in the general living room. Women of the family wash the 

 men's hair and one another's. 



The process of the women's bath is tedious. The woman goes to a 

 corner of the general living room and bathes without removing the 

 cotton camis. If this garment is to be worn after the bath, great 

 care must be taken to prevent it from getting too wet; if it is to be 

 changed, it is used as a towel for the lower portion of the body, and 

 the pi'toni (the cotton piece worn over the shoulders) is used to dry 

 the remainder of the body. It is astonishing how adroitly the women 

 manage not to be exposed during the bath, yet this precaution seems 

 unnecessary, since the men present appear not to have the slightest 

 concern in the ablutions of the women. 



The high-necked and long-sleeved cotton garment is discarded by 

 the women for ceremonials, and their necks and arms are bare. Men 

 wear their cotton shirts and trousers in the ceremonial chamber, but 

 afterward discard them, wearing, except on rare occasions, only a 

 woven breechcloth in the dances. The moccasins of both sexes are 

 always removed on entering the chamber. The strictest etitjuette is 

 observed in these ceremonials. No one enters the chamber without 



