FEWKES] TANOAN EPOCH 281 
The War god, Piiikon hoya, also a Tewan incorporation in the 
Hopi pantheon, appears frequently on pottery of the Tanoan epoch, 
as shown in figure 112. This figure, 
painted on a terra-cotta slab, is iden- 
tified by the two parallel marks on 
each cheek. 
CONCLUSION 
In the preceding pages an attempt 
has been made to trace the chrono- 
logical sequence of pottery symbols in 
Hopiland by pointing out distinct 
epochs in cultural history and corre- 
lating the sociology of the tribe. This 
takes for granted that the pottery 
symbols characteristic of this people 
are directly connected with certain 
clans. There have from time to time 
been sudden changes in symbols, or 
previous designs have suddenly dis- — 
appeared and others have taken their Fie. 111.—Ladle with clown caryed 
places, as well as a slow development cadre Se Ona OF 
of existing symbols into more com- 
plicated forms. There persist everywhere survivals of old pre- 
puebloan symbols inherited from the past and a creation of new 
products of Hopi environment not found elsewhere. 
The author will close this paper with 
a brief theoretical account of the un- 
written culture history of Hopi, part of 
which explains certain pottery symbols. 
If we take that segment of southwestern 
history extending from the earliest to the 
present, we find evidences of the exist- 
ence of a prepuebloan culture existing 
before terraced houses were built or cir- 
cular kivas had been used for ceremonial 
purposes. This epoch was antecedent to 
the construction of the great walled com- 
, =—+—— pounds of the Gila, illustrated by Casa 
Pic. eiliagie on hoya, little Grande. At that epoch known as the pre- 
; , puebloan there extended from Utah to the 
Mexican boundary and from the Colorado to the Rio Grande a culture 
architecturally characterized by small fragile-walled houses not united 
or terraced. These houses were sometimes like pit dwellings, either 
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