278 DESIGNS ON HOPI POTTERY [BTH. ANN. 33 
their ends, said to represent the sunflower. The whole design in 
plate 88, d, represents a bird, recalling that of the figure Marautiyo 
on one of the appended slabs of the altar of the Walpi Marau cere- 
mony. In this altar figure we find not only a horn on the left side 
of the head, but also a rectangular design on the right. 
On the corresponding right-hand side of this altar we have a pic- 
ture of Marau mana (Shalako mana). It will thus appear that when 
compared with the Lakone coronet the figure on the Shongopovi 
bowl represents a female being, whereas when compared with the 
figure on the Marau altar it resembles a male being. There is, there- 
fore, something wrong in my comparison. But the fact remains 
that there survive in the two woman’s festivals—Lakone maid’s 
coronet and Marau altar—resemblances to prehistoric Hopi designs 
from Shongopovi. Moreover, it is known that the Marau fetishes 
are stated by the chief Saliko to have been introduced from Awatobi 
into Walpi by her ancestor who was saved at the massacre of that 
town in 1700. 
The life figures of the Tanoan epoch, or that following the 
overthrow of Sikyatki, can be made out by a study of modern 
Hano pottery. Perhaps the most complex of these is that of the 
Corn maid, Shalako mana. Shalako mana plays a great rdle in the 
Mamzrauti, a ceremony derived from Awatobi, and figures repre- 
senting her are common designs made on Hano pottery. Designs 
representing this being are common on the peculiar basket plaques 
made at the Middle Mesa and dolls of her are abundant. The con- 
stant presence of her pictures on basket plaques at the Middle Mesa 
would also seem to show an ancient presence in the Hopi country, 
and indicate an identity of pottery designs from ancient Shumopavi 
with those from the East Mesa and Awatobi.? 
One of her modern Walpi ceremonies has such pronounced A watobi 
symbolism that it may be instanced as showing derivation; viz, the 
New-fire festival. The women of the Marau and the men of the 
Tataukyamti regard themselves kindred, and taunt each other, as 
only friends may without offence, in this festival, and the Tatau- 
kyamfi often introduce a burlesque Shalako mana into their per- 
formances. 
1The two parallel lines on the two outside tail feathers recall the markings on the face 
of the War god Puiikonighoya. 
2A personation of Shalako mana at Oraibi, according to Mr. H. R. Voth, came from 
Mishongnovi. This conforms exactly with the legends that state the Mamzrauti may 
have been introduced into Mishongnoyvi from Awatobi, for at the division of the captive 
women at Maski many of the women went to that pueblo. 
®See Fewkes, The New-fire Ceremony at Walpi, pp. 80-138. The New-fire rites at 
Walpi are celebrated in November, when four societies, Aaltf, Wiiwiitcimtf, Tataukyamf, 
and Kwakwantt, take part. As in all new-fire ceremonies, phallic or generative rites are 
prominent, the Wiiwiitcimtf and Tataukyamfi who kindle the fire being conspicuous in 
these rites. Their bodies have phallic emblems painted on them and the latter bear 
Zui symbols. 
