S62 ZUNI KATCINAS [eth. ann. 47 



The designs, for the most part, are very simple. The mask may be 

 all one color or the face may be a different color from the rest and set 

 off from it by a narrow band. The band around the face is either 

 checked or striped of many colors and symbolizes the Milky Way and 

 the rainbow, respectively. A simple ornament, a circle, a triangle, or 

 zigzag lines, or the familiar cloud symbol is sometimes painted on each 

 cheek. Wren the back of the mask is exposed it is frequently painted 

 with butterflies, dragon flies, frogs, flowers, or corn. The formal char- 

 acter of these decorations has already been pointed out. 



The folloAving comments show the type of symbolic associations 

 with mask designs. 



"Sometimes the paintmg on the mask means something; sometimes 

 not. 



"The words of the songs always refer to the rain and the clouds and 

 all the beautiful things that grow on the earth, and the painting on 

 the mask means the same as the song. They paint something on the 

 mask to please the earth and something to please the sky, and so on. 

 The painting on Lelacoktipona's face does not look lUie the Milky 

 Way, but they call it that anyway to please the Milky Way. 



"The red paint on the body is for the red-breasted birds and the 

 yellow paint for the yellow-breasted birds and for the flowers and 

 butterflies and all the beautiful things in the world. The white paint 

 is for the sim. 



"The spots of paint of different colors on Homatci and Temtemci 

 are rain drops faUing down on the earth. The green is for the green 

 grass." 



Considerable ingenuity is displayed in the handling of the difficult 

 lower edge. The shnplest arrangement is a piece of cloth. The 

 Koyemci wear a ragged piece of native black cloth, which adds con- 

 siderably to the crudeness and ludicrousness of their aspect. On 

 other masks an embroidered kilt is neatly folded to conceal the 

 wearer's neck and shoulders (Komokatsik, pi. 35, c). Skins of animals 

 may be similarly used, especially those of fox, coyote, rabbit, and 

 mountain Hon (Saiyafl'a, pi. 21, b). A padded coUar of cloth stuffed 

 with cotton and painted to match the mask is sometimes used 

 (Saiyataca, pi. 25). But by far the most beautiful masks are those 

 finished with great ruffs of glossy feathers or sweet-smelling spruce. 

 The feathers may be the stiff shining feathers of the raven (Salimop'iya) 

 or the soft feathers of the turkey (Natcimomo, pi. 55, a). But loveliest 

 of all are the rufts of freshly picked spruce branches. Spruce is the 

 plant most intimately associated with the katcinas. It symbolizes 

 all the green growing tilings with which the rain clothes the earth. 

 The beauty of the fresh green wreaths is often enhanced by tipping 

 the ends of the twigs with flakes of snowy popcorn. 



On a few masks (Hemuci-kwe, pi. 46, a) towering headdresses re- 

 sembling those of the tablita dances of the eastern Pueblos are worn. 



