THE PUEBLO DWELLERS. Q] 
displayed. Apparently the older art gave way under 
European influences to new forms which for some reason 
have not reached the perfection of the old seen in the 
black and white ware from the Tularosa ruins and the 
excellently colored vessels from the Little Colorado. 
Since we know certain of the villages in the latter region 
were deserted at an early date, we are justified in con- 
cluding that this art reached its climax near the begin- 
ning of the historic period. 
Symbolic art, while found upon pottery, is particu- 
larly developed in ceremonial painting and carving. 
Cloud symbols in which semicircles stand for clouds, 
zigzag arrows for lightning, and vertical lines for rain 
are common, and many other conventions are employed. 
The prayer bowls and the wooden headdresses worn in 
dances often have their tops fashioned in terraced rec- 
tangles which in the east represent both mesas and 
mountain peaks and stand in general for the earth, but 
are clouds to the Zuni andsunladderstothe Hopi. Inthe 
dry or sand paintings, described in another section, 
excellent flat representations of animals are produced. 
It is difficult in a sentence or a paragraph to give the 
reader an adequate conception of the extent to which 
color and number enter into the myths, songs, prayers, 
and ceremonial observations. All important things 
are repeated for each of the cardinal points with chang- 
ing color and symbolism. The movements in ceremonies 
are from the north to the west or counter clockwise. 
The colors are yellow for the north; blue for the west; 
red for the south; white for the east; all colors for the 
zenith; and black for below. These conceptions of 
color and number while put to a ceremonial use are 
almost certainly aesthetic in their origin. 
