THE CUNOPAVI SNAKE CEREMONY 
GENERAL REMARKS 
The ritual of this Tusayan village is less known than that of any 
other, not a single Cunopavi ceremony ever having been described. 
There is, however, evidence that the complete Tusayan ritual is per- 
formed at this pueblo, and its age and isolation leads me to suspect 
that the modifications are of value from a comparative point of view. 
It is, therefore, with great pleasure that I am able, in this article, to 
present the results of the first study of Cunopavi ceremonials. Unfor- 
tunately, however, I can speak only of the public Snake dance and 
describe the Antelope altar, since I have not witnessed any of the secret 
rites pertaining to the ceremony. 
The attendance at the Snake dance of Cunopavi, in 1896, consisted 
of ten white persons and numerous Indians from the other mesas, 
in addition to the inhabitants; there were also two Navahos, who had 
come from a long distance. 
THE ANTELOPE ALTAR 
The sand mosaic of the Cunopayi Antelope altar (plate LXXIr) was 
bordered by a margin of sand of four colors—yellow, green, red, and 
white, separated by black lines—and was of rectangular shape, about 
the size of the Walpialtar. There were but two rows of semicireular rain- 
cloud figures in the inclosure of the margin. The first row, adjacent the 
margin, had four members—yellow, green, red, and white, in sequence, 
beginning at the right of the row. The second series had five semi- 
circles—yellow, black, yellow, green, and yellow, following the same 
sequence as the former. There were four zigzag lightning symbols, col- 
ored yellow, green, red, and white, each of which had a horn on the right 
side of the head. At the angles of each lightning symbol there were 
drawn, with black sand, figures of feathers. The zigzag lightning strokes 
and the semicircular rain clouds were outlined with black lines, and 
parallel lines representing falling rain were short and numerous. As at 
Cipaulovi, there were no stoneimplements around the margin of the sand 
picture, but at its four corners there were small cones of clay, each 
bearing the color of a cardinal point—yellow, green, red, and white, 
respectively. The front and rear margins of the sand picture, like those 
of the Cipaulovi altar, were destitute of objects. On each side of the 
sand picture there were four clay pedestals, two of which bore straight 
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