The evidences all point to a belief, however, that they were both permanent dwelling places and not temporary resorts at certain seasons of the year.
The pictographs on the face of the cliff above Honanki are for the greater part due to the former Apache occupants of the rooms, and are situated high above the tops of the walls of the ruin. They are, as a rule, drawn with white chalk, which shows very clearly on the red rock, and are particularly numerous above room g. The figure of a circle, with lines crossing one another diametrically and continued as rays beyond the periphery, possibly represent the sun. Many spiral figures, almost constant pictographs in cliff ruins, are found in several places. Another strange design, resembling some kind of insect, is very conspicuous.
A circle painted green and inclosed in a border of yellow is undoubtedly of Apache origin. There is at one point a row of small pits, arranged in line, suggesting a score or enumeration of some kind, and a series of short parallel lines of similar import was found not far away. This latter method of recording accounts is commonly used at the present time in Tusayan, both in houses and on cliffs; and one of the best of these, said to enumerate the number of Apache killed by the Hopi in a raid many years ago, may be seen above the trail by which the visitor enters the pueblo of Hano on the East Mesa. The names of several persons scratched on the face of the cliff indicate that Americans had visited Honanki before me.
The majority of the paleoglyphs at both Palatki and Honanki are of Apache origin, and are of comparatively modern date, as would naturally be expected. In some instances their colors are as fresh as if made a few years ago, and there is no doubt that they were drawn after the building was deserted by its original occupants. The positions of the pictographs on the cliffs imply that they were drawn before the roofs and flooring had been destroyed, thus showing how lately the ruin preserved its ancient form. In their sheltered position there seems to be no reason why the ancient pictographs should not have been preserved, and the fact that so few of the figures pecked in the cliff now remain is therefore instructive.
One of the first tendencies of man in visiting a ruin is to inscribe his name on its walls or on neighboring cliffs. This is shared by both Indians and whites, and the former generally makes his totem on the rock surface, or adds that of his gods, the sun, rain-cloud, or katcinas. Inscriptions recording events are less common, as they are more difficult to indicate with exactitude in this system of pictography. The majority of ancient pictographs in the Red-rock country, like those I have considered in other parts of Verde valley, are identical with picture writings now made in Tusayan, and are recognized and interpreted without hesitation by the Hopi Indians. In their legends, in which the migrations of their ancestors are recounted, the traditionists often mention the fact that their ancestors left their totem signatures at certain points in their wanderings. The Patki people say that you will find on the rocks of Palatkwabi, the "Red Land of the South" from which they came, totems of the rain-cloud, sun, crane, parrot, etc. If we find these markings in the direction which they are thus definitely declared to exist, and the Hopi say similar pictures were made by their ancestors, there seems no reason to question such circumstantial evidence that some of the Hopi clans once came from this region.[28]
One of the most interesting of the pictographs pecked in the rock is a figure which, variously modified, is a common decoration on cliff-dweller pottery from the Verde valley region to the ruins of the San Juan and its tributaries. This figure has the form of two concentric spirals, the ends of which do not join. As this design assumes many modifications, it may be well to consider a few forms which it assumes on the pottery of the cliff people and on that of their descendants, the Pueblos.
The so-called black-and-white ware, or white pottery decorated with black lines, which is so characteristic of the ceramics of the cliff-dwellers, is sometimes, as we shall see, found in ruins like Awatobi and Sikyatki; but it is so rare, as compared with other varieties, that it may be regarded as intrusive.
One of the simplest forms of the broken-line motive is a Greek fret, in which there is a break in the component square figures or where the line is noncontinuous. In the simplest form, which appears prominently on modern pottery, but which is rare or wanting on true black-and-white ware, we have two crescentic figures, the concavities of which face in different directions, but the horns overlap. This is a symbol which the participants in the dance called the Húmiskatcina still paint with pigments on their breasts, and which is used on shields and various religious paraphernalia.
A study of any large collection of decorated Pueblo ware, ancient or modern, will show many modifications of this broken line, a number of which I shall discuss more in detail when pottery ornamentation is considered. A design so distinctive and so widespread as this must certainly have a symbolic interpretation. The concentric spirals with a broken line, the Hopi say, are symbols of the whirlpool, and it is interesting to find in the beautiful plates of Chavero's Antigüedades Mexicanas that the water in the lagoon surrounding the ancient Aztec capital was indicated by the Nahuatl Indians with similar symbols.