FEWKES] TANOAN EPOCH 277 
illustrate the relation of old Awatobi and existing Hopi symbolism; 
a modern figure (108) of this Corn maid, painted on a wooden slab, 
is sometimes carried by the Waipi women in their dance. Figures of 
the Awatobi germ god, Alosaka, otherwise called Muyinwit,* are 
depicted on the slabs used by most of the women at that time. 
The different designs on the slab under consideration (pl. 89) are 
indicated by letters and explained as follows: a represents a circular 
fragment of the haliotis or abalone shell hanging midway from a 
figure of an ear of corn, c. The cheeks are tattooed or painted with 
characteristic figures, cb, the eyes rectangular of different colors. 
The letter d is a representation of a wooden ear pendant, a square, 
flat body covered on one side with a mosaic of turquoise sometimes 
arranged in figures. The letter ¢ is the end of a string by which the 
ceremonial blanket is tied over the left shoulder, the right arm 
being free, as shown in the illustration. Over the right shoulder, 
however, is thrown a ceremonial embroidered kilt, fb. 
The objects in the hands represent feathers and recall one type of 
the conventional feathers figured in the preceding pages. The letters 
fr represent falling rain embroidered on the rim of the ceremonial 
blanket and rc the terraced rain clouds which in are become 
rounded above; g represents a turquoise at the end of a string of tur- 
quoise suspended from shell necklaces sn; m represents the butterfly 
and is practically identical with the decorations on dados of old Hopi 
houses; s represents a star; sb represents shell bracelets, many ex- 
amples of which occur in ruins along the Little Colorado; ss is sup- 
posed to have replaced the key patterns which some authorities iden- 
tify as sprouting beans. There are commonly nine rectangular mark- 
ings, nc, on the upper border of the embroidered region of ceremonial 
blankets and kilts, each of which represents either a month or a day, 
by some said to refer to ceremonial or germ periods.* 
The Shalako mana figures have not yet been found in the unmodi- 
fied Little Colorado ware, but homologous figures have been found 
in the Rio Grande area. 
The design (pl. 88, d) with a horn on the ‘eft side of the head 
and a rectangle on the right, the face being occupied by a terrace 
figure from which hang parallel lines, reminds one of the “ coronets ” 
worn on the head by the Lakone maids (manas) in the Walpi Basket 
dance of the Lalakonti. The horn in the coronet is without terminal 
appendages, although a feather is tied to it, and the rectangle of 
plate 88, d, is replaced by radiating slats spotted and pointed at 
1 An account of this dance with details of the nine days’ ceremony as presented in the 
major or October variant will be found in the American Anthropologist, July, 1892. The 
minor or Winter ceremony, in which the Corn maids are personated by girls, is published 
in the same journal for 1900. The Corn maid has several aliases in this ceremony, among 
which are Shalako mana, Palahiko mana, and Marau mama. 
?This Corn maid is one of the most common figures represented by dolls. 
