276 DESIGNS ON HOPI POTTERY [prH. ANN. 33 
who, as shown, is the same personage as Marau mana and Palahiko 
mana in the festival of the Mamzrauti derived from Awatobi. The 
symbol of this goddess is instructive and easily recognized in its 
many variations. Her picture on Hano pottery is shown in fig- 
ure 108. 
The most striking features of her symbolism, brought out in plate 
89,.are terraced bodies representing rain clouds on the head, an ear 
of maize symbol on the forehead, curved lines over the mouth, 
chevrons on the cheeks, conventionalized wings, and feathered gar- 
ment. It is also not uncommon to find carved representations of 
Tic. 108.—Head of Shalako mana, or Corn maid. 
squash blossoms occupying the same positions as the whorls of hair 
on the heads of Hopi maidens. 
The Shalakotaka male is likewise a common design readily recog- 
nized on modern pottery. Particularly abundant are figures of the 
mask of a Kohonino god, allied to Shalako, which is likewise called 
a kachina, best shown in paraphernalia of the Mamzrauti ceremony. 
It sometimes happens in Hopi dramatization that pictures of 
supernatural beings and idols of the same take the place of per- 
sonations by priests. For instance, instead of a girl or a woman 
representing the Corn maid, this supernatural is depicted on a slab of 
wood or represented by a wooden idol. One of the best-known fig- 
ures of the Corn maid (Shalako mana) is here introduced (pl. 89) to 
