FEWKES] TANOAN EPOCH 279 
The designs painted on the bodies and heads of several modern 
dolls representing Corn maids are symbols whose history is very 
ancient in the tribe. For instance, those of feathers date back to 
prehistoric times, and terraced designs representing rain clouds are 
equally ancient. The dolls of the Corn maid (Shalako mana) pre- 
sent a variety of forms of feathers and the headdresses of many dolls 
represent kachinas, and show feathers sometimes represented by 
sticks on which characteristic markings are painted, but more often 
they represent symbols.* 
Symeots or Hano Crans 
Hano, as is well known, is a Tewan pueblo, situated on the East 
Mesa, which was the last great body of Tewa colonists to migrate to 
Hopiland. While other Tewa colonists lost their language and be- 
came Hopi, the inhabitants of Hano still speak Tewa and still pre- 
serve some of their old ceremonies, and consequently many of their 
own symbols. Here were found purest examples of the Tanoan epoch. 
The potters of clans introduced symbols on their ware radically 
different from those of Sikyatki, the type of the epoch of the finest 
Hopi ceramics, and replaced it by Tewan designs which characterize 
Hopi pottery from 1710 to 1895, when a return was suddenly made 
to the ancient type through the influence of Nampeo. At that date 
she began to cleverly imitate Sikyatki ware and abandoned de toto 
symbols introduced by Hano and other Tewa clans. 
Fortunately there exist good collections of the Tewa epoch of 
Hopi ceramics, but the ever-increasing demand by tourists for ancient 
ware induced Nampeo to abandon the Tewa clan symbols she for- 
merly employed and to substitute those of ancient Sikyatki.? 
The majority of the specimens of Hano pottery, like those of the 
Tanoan epoch to which it belongs, are decorated with pictures of clan 
ancients called kachinas. These have very little resemblance to de- 
signs characteristic of the Sikyatki epoch. They practically belong 
to the same type as those introduced by Kachina, Asa, and Badger 
peoples. One of the most common of these is the design above dis- 
1The designs on the wooden slats carried by women in the dance known as the Marau 
ceremony are remarkably like some of those on Awatobi and Sikyatki pottery. 
2Much of the pottery offered for sale by Harvey and other dealers in Indian objects 
along the Santa Fe Railroad in Arizona and New Mexico is imitation prehistoric Hopi 
ware made by Nampeo. The origin of this transformation was due partly to the author, 
who in the year named was excavating the Sikyatki ruins and graves. Nampeéo and her 
husband, Lesou, came to his camp, borrowed paper and pencil, and copied many of the 
ancient symbols found on the pottery vessels unearthed, and these she has reproduced on 
pottery of her own manufacture many times since that date. It is therefore necessary, 
at the very threshold of our study, to urge discrimination between modern and ancient 
pottery in the study of Hopi ware, and careful elimination of imitations. The modern 
pottery referred to is easily distinguished from the prehistoric, inasmuch as the modern 
is not made with as much care or attention to detail as the ancient. Also the surface of 
the modern pottery is coated with a thin slip which crackles in firing. 
