[146] The paho is probably a substitution of a sacrifice of corn or meal given as homage to the god addressed.
[147] Journal of American Ethnology and Archæology, vol. iv. These water gourds figure conspicuously in many ceremonies of the Tusayan ritual. The two girls personating the Corn-maids carry them in the Flute observance, and each of the Antelope priests at Oraibi bears one of these in the Antelope or Corn dance.
[148] "A few Tusayan Pictographs;" American Anthropologist, Washington, January, 1892.
[149] A beautiful example of this kind was found at Homolobi in the summer of 1896.
[150] In this connection the reader is referred to the story, already told in former pages of this memoir, concerning the flogging of the youth by the husband of the two women who brought the Hopi the seeds of corn. It may be mentioned as corroboratory evidence that Calako-taka represents a supernatural sun-bird, that the Tataukyamû priests carry a shield with Tunwup (Calako-taka) upon it in the Soyaluña. These priests, as shown by the etymology of their name, are associated with the sun. In the Sun drama, or Calako ceremony, in July, Calako-takas are personated, and at Zuñi the Shalako is a great winter sun ceremony.
[151] American Anthropologist, April, 1895, p. 133. As these cross-shape pahos which are now made in Tusayan are attributed to the Kawaika or Keres group of Indians, and as they were seen at the Keresan pueblo of Acoma in 1540, it is probable that they are derivative among the Hopi; but simple cross decorations on ancient pottery were probably autochthonous.
[152] In dolls of the Corn-maids this germinative symbol is often found made of wood and mounted on an elaborate tablet representing rain-clouds.
[153] Many similarities might be mentioned between the terraced figures used in decoration in Old Mexico and in ancient Tusayan pottery, but I will refer to but a single instance, that of the stuccoed walls of Mitla, Oaxaca, and Teotitlan del Valle. Many designs from these ruins are gathered together for comparative purposes by that eminent Mexicanist, Dr E. Seler, in his beautiful memoir on Mitla (Wandmalereien von Mitla, plate x). In this plate exact counterparts of many geometric patterns on Sikyatki pottery appear, and even the broken spiral is beautifully represented. There are key patterns and terraced figures in stucco on monuments of Central America identical with the figures on pottery from Sikyatki.
[154] This pillar, so conspicuous in all photographs of Walpi, is commonly called the Snake rock.
[155] American Anthropologist, April, 1892.