FEWKES] THE RUIN, SIKYATKI 243 
to this band. The sky-band itself varies in width, being broad or 
narrow, crossed by series of vertical parallel, zigzag, or other lines 
arranged at intervals, or alternating with geometrical figures (g, h). 
In a single example (7) the decoration is etched into the burnt clay, 
although in most instances the decorations are painted. 
Various explanations of the meaning of this band have been sug- 
gested, it being regarded by some of the priests as the Milky Way, 
by others as the path of the sun through the sky, but so far as 
known this ancient design is rare on modern Hopi ware.t According 
to Harrington the Tewa recognize a “backbone ” of the sky. 
In several Hopi legends there are allusions to a monster bird that 
had been killed and hung in the sky by a cultus hero; and the 
general character of this decorative band in Sikyatki pottery decora- 
tion renders it probable that it was intended to represent some 
supernatural being, as the Sky god. 
The chief interest of the Sikyatki sky-band lies in the figure or 
figures attached to it, or suspended from it, and regarded as the 
conventionalized representation of a bird. Sometimes the creature 
is placed longitudinally, sometimes vertically. In some instances 
it is elaborately drawn, in others it is a simple geometric figure 
bearing so little resemblance to a life form as to make it one of the 
most highly conventionalized of all ancient Hopi designs. 
_ Like other bird designs, these suspended figures may be considered 
under two heads: (1) Those attached to the band in such a way 
as to be seen from above (the dorsal side) or from below (the 
ventral side); and (2) those suspended lengthwise of the band, 
showing one side in which the tail and other parts are twisted into 
a plane at right angles. The structure and relations of the hang- 
ing figure can best be seen by holding the bowl in such manner that 
the sky-band is horizontal, bringing the body of the suspended 
animal into the lower semicircle. 
VERTICAL ATTACHMENT TO SKY-BAND 
Several Sikyatki pottery designs showing the sky-band with the 
bird figure hanging vertically from it are shown in the accompany- 
ing illustrations. In order that the modifications in form may be 
readily followed, those parts of the bird figures regarded as homolo- 
gous are indicated by the same letters. 
1The only design in modern Hopi symbolism comparable with the sky-band occurs on a 
wooden slab on the altar of the Owakulti, a society priestess whose ancestors are said 
to have formerly lived at the historic pueblo of Awatobi. This slab is attached to the 
uprights of an altar, by means of flat slabs of wood, some arranged vertically, others 
horizontally. On it is depicted, among other symbolic figures, a representation of a bird. 
