THE TUSAYAN RITUAL. 697 



representing the forked and the straight the sheet lightning. Two 

 coronets 7 one on each side of the alter, are worn by two of the chiefs 

 and they are made in the form of rain cloud symbols, semicircles from 

 which parallel lines representing falling rain are drawn. Here, there- 

 fore, we see several rain symbols in prominent places. But the cere- 

 mony in which this altar is used is primarily one for the growth of corn; 

 let us examine the objects in it with that thought in mind. 



Four effigies or idols between the uprights of the reredos represent 

 the following personages: The one to the right is the goddess of 

 growth. She carries in her belt prayer offerings for abundant harvests. 

 At her feet is an efflgy of the corn mountain, colored with different 

 colored corn, since all kinds of corn are under her control. In her left 

 hand she has a small jar of holy water, since corn can not grow with- 

 out moisture. The figure at her left is the patron goddess of the society 

 who celebrate growth ceremonials, the ancestral deified totem of the 

 fraternity. At her left is the corn goddess, since corn is the one cereal 

 whose growth is desired. This figurine bears on her head the symbol 

 of the ear of maize. No field of corn may be harvested without the 

 protection of the warrior in a country harassed by enemies, and the 

 fourth effigy represents the god of war, whose effigy naturally has a 

 place on this altar. The white meal which is sprinkled on the heads 

 of all the idols represents the prayers of the faithful, for as each priest 

 approaches the altar she breathes her prayer on sacred meal and scat- 

 ters it on the heads of the effigies. These prayers are for a good 

 harvest, a successful crop and abundant rains. 



There are three objects in front of the images which are the badges 

 of the priests, called the "mothers." In advance of these, spread on 

 the fioor, is an elaborate picture, made of different colored sands, 

 representing on one side the Earth Goddess, and on the other the 

 Watcher, or little War God. Connected with the altar is a bowl with 

 terraced rim, used as a medicine bowl, and a single upright ear of maize 

 with a feather, a kind of standard, which is placed at the pathway 

 of the kiva to warn uninitiated persons not to intrude on the mys- 

 teries which are performed about the altar. 



The influence of arid climatic conditions is shown in the character 

 and intent of symbols. The conventional figure of the rain cdouds 

 and falling rain is depicted more than any other on various parapher- 

 nalia of worship. It is painted on the altars, drawn in sacred meal on 

 the floor of his sacred rooms, or kivas, embroidered on ceremonial kilts. 

 The priest wears it on his marks and paints it on the body. It is an 

 omnipresent symbol. 



By a natural connection it is often replaced by figures of animals or 

 plants associated with water. The frog and tadpole appear when the 

 rain is abundant, and for that reason the priest paints the figures of 

 these animals on his medicine bowl, or places effigies of it on the altar. 

 In certain rites he makes clay balls, in which he inserts small twigs, 



