Two idols, probably of wood, stand between the vertical slats of the altar, filling nearly the whole space. That on the left evidently represents the Sky God (Cotokinungwu) for it has a conical apex to the head, a painted chin, and near its left hand stands a wooden slat of zigzag form, a prescribed symbol of lightning.[3] This image has several short parallel marks of different colors on the body, and wears horsehair, stained red, about the loins.
The other figurine wears a coronet with triangular-shaped rain cloud symbols, which remind one of the headdress of the Lakonemana, a tutelary goddess of the woman’s society, the Lalakontu, whose ceremonials in September have been described elsewhere.[4]
The two vertical wooden slats, one on each side of the uprights, bear pictures of the same personage, probably Tunwupkatcina, on whose head is a fan-shaped crest of feathers. On each side the head has a horn, at the extremity of which hangs a symbolic feather.
The human figures have characteristic markings on their foreheads, and their bodies are black, dotted with white spots.
There is no mistaking the symbolism of the remaining idol standing at the right of the altar, as an image of Puukonhoya, the “Little War God,” whose characteristic features are the parallel marks on the body, and the weapons of war in his hands.
Several sticks, cut in zigzag shapes with curved appendages and short crossbars at one end, stand between the uprights of the reredos. From their forms, these objects may readily be identified as lightning symbols so common in all Tusayan altars. One of these, which has a complicated tip or head, is placed close to the outstretched arm of Cotokinungwu, with whom it is naturally associated. The straight rod leaning on the same arm is possibly a cornstalk symbol. The rounded stick, tapering at one end, which stands under the extended left hand of the image on the left, is probably a symbol of maize. A somewhat larger pointed object, painted at its base with zones of yellow, green, red and white, and surmounted by a feather, is called “the mound” and suggests the kaetukwi or Corn Mound of the Lalakontu, being similarly situated to an image on the left of this altar. The surface of the latter object, however, instead of being painted, is encrusted[5] with clay covered with different kinds of seeds.
The crook at the extreme left of the altar has attached to it an object which resembles the paddle carried by a participant in the Heheakatcina, or public ceremonial of the Niman at Walpi.
Four pahos, or prayer-sticks, are placed at intervals in hillocks of sand before the images on the altar. The Katcina tiponi,[6] or badge of the chief, stands on the floor before the altar.
Just in advance of the left-hand idol—the image with a coronet—there is a small oblong basket in which are laid a number of sticks with feathers, seeds, and pinches of meal. This is called the “Mother,” and recalls similar objects which have been observed on the Lalakontu altar, whose contents have been described elsewhere.[7]
I need not dwell on the other accessories of the Powamu altar at Oraibi save to note that they are common to other altars, and in no respect characteristic. I refer to the basket tray of sacred meal, the rattles, a medicine bowl, aspergill, and six ears of corn used in special rites.