28 HOPI KATCINAS [eth. an.v.21 



was drawn on the ground, along which line the procession passed. As 

 the personators ai-rived at each of the six shrines they performed a 

 dance near it. and the leader scattered prayer-meal on the prayer-stick. 

 Each of the four divisions of the procession went to one or another 

 of the following houses: Asa clan house (Homovi's), Honani clan house 

 (Nuvasi's), Patki clan house (Tcoshoniwu's), and Ki'ikiitc clan house 

 (SikyahonauiVs). 



These houses had been specially fitted up for the reception of the 

 incoming guests, and as they arrived they danced, passing in rotation 

 to the other houses, and so continuing throughout the night. 



As each group entered a house, it tied a stick with attached feathered 

 strings in the rafters, after which the katcinas doffed their masks, the 

 men smoked and prayed, and a feast was served. At the close of the 

 feast the women and children began to assemble, filling all available 

 space in the rooms, each family seeking the clan with which it had 

 social affiliation. 



There were no elaborate altars in these rooms, but at one end, on the 

 floor, there were masks and other sacred objects belonging to the clan. 

 In the floor of the room at that point there was a round hole called the 

 sipapu, corresponding with a similar opening in the floors of the kivas. 

 The walls of the Asa room were decorated with whole new buckskins 

 nailed in a row about them. Tlie mural decoration of the Ki'ikiitc 

 clan was a ceremonial kilt painted on the four walls. All floors were 

 carefully swept and the wealth of the clan was prominently displayed, 

 the clan fetishes being placed on the floor near the symbolic opening 

 mentioned above. 



The most important of the latter in the home of the Honani clan 

 wei'e four masks of Wiiwiij'omo and four masks of the Zuni Calakos. 

 These were arranged in two rows, one behind the other. Near this 

 double row of masks the men representing C'ipikne, Hakto, and Hututu 

 set their masks. The author supposes that the four masks called Wii- 

 wiiyomo (see plate v), which are apparently very old, as their name 

 indicates, represent sun masks, and as sucli are symbolically and mor- 

 phologically the same as that of Ahiil, the sun god of the Katcina 

 clan. They are exceptional in having the curved snout (which is homol- 

 ogous to an eagle's beak) turned upward, for in masks of other sun 

 gods which have this organ it is turned downward. 



The four Zuni Calako masks, which the author believes are also 

 symbolic sun masks, are of modern introduction into Tusayan, and do 

 not differ in symbolism from those of the Calakos at Zuni, from which 

 they were modeled." 



No ancient masks were displayed in the house of the Asa clan, but 



(iThis is not the place to point out the resemblance between the symbolism of .the Calako masks 

 and those of the sun, but the author is firmly convinced that the Calako giants represent giant 

 sun birds. Not only the symbolism but also the acts of these beings support this theory. The Calako 

 festival is practically a sun drama. 



