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+
+<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Eighth Annual Report, by Various</div>
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
+are not located in the United States, you will have to check the laws of the
+country where you are located before using this eBook.
+</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Eighth Annual Report
+of the Bureau of Ethnology to the Secretary of the Smithsonian Institution,<br />
+1886-1887, Government Printing Office, Washington, 1891</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Various</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: John Wesley Powell</div>
+<div style='display:block; margin:1em 0'>Release Date: March 8, 2007 [eBook #20784]<br />
+[Most recently updated: June 22, 2021]</div>
+<div style='display:block; margin:1em 0'>Language: English</div>
+<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Carlo Traverso, Frank van Drogen, Joshua
+Hutchinson, Julia Miller, Louise Hope and the Online Distributed Proofreading Team</div>
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK EIGHTH ANNUAL REPORT ***</div>
+
+<div class="mynote">
+
+<p>The two “Accompanying Papers” that make up the bulk of this book are
+also available as individual texts from Project Gutenberg:</p>
+
+<p class="hanging">
+Victor Mindeleff, <i>A Study of Pueblo Architecture, Tusayan and
+Cibola</i>: e-text 19856.</p>
+
+<p class="hanging">
+James Stevenson, <i>The Ceremonial of Hasjelti Dailjis and Mythical Sand
+Painting of the Navajo Indians</i>: e-text 19331.</p>
+
+<p>The files are identical except that in the present text a few more
+typographical errors have been corrected, and some illustrations have
+been replaced.</p>
+
+<p>A few words in these two papers use some uncommon letters:</p>
+
+<p class="inset">ā, ē (vowel with macron or “long” mark)<br/>
+Ĕ, ĭ, ŏ (vowel with breve or “short” mark)<br/>
+ⁿ (small raised n).</p>
+
+<p>These words include alternate transcriptions as mouse-hover popups:
+<ins class="translit" title="Tan[-a]’shkiji">Tanā’shkiji</ins>.
+Errors are <ins class="correction" title="text reads ‘similiarly’">similarly</ins> marked. The “cents” sign ¢
+has been used in place of the rare symbols Ȼ and ȼ.</p>
+
+<p>If the apostrophes and quotation marks in this paragraph appear as
+garbage, you may need to change your browser’s “file encoding” or
+“character set” to utf-8 (unicode), or change your browser’s default
+font.</p>
+
+<p>All brackets and parenthetical question marks are in the original.
+The cover picture is conjectural; it was used in Annual Reports 7, 9 and
+others.</p>
+
+</div>
+
+<p>&nbsp;</p>
+
+<p class="illustration">
+<img src="images/cover.jpg" width="375" height="484"
+alt="cover illustration" title="cover illustration" />
+</p>
+
+<p>&nbsp;</p>
+
+<div class="title">
+
+<h1>EIGHTH ANNUAL REPORT</h1>
+
+<h6>OF THE</h6>
+
+<h2 class="extended">BUREAU OF ETHNOLOGY</h2>
+
+<h6>TO THE</h6>
+
+<h5>SECRETARY OF THE SMITHSONIAN INSTITUTION</h5>
+
+<h4>1886-’87</h4>
+
+<h6>BY</h6>
+
+<h4 class="extended">J. W. POWELL</h4>
+
+</div>
+
+<h6>DIRECTOR</h6>
+
+<p class="illustration">
+<img src="images/intro_logo.gif" width="110" height="147"
+alt="title-page logo" title="title-page logo" />
+</p>
+
+<h5>WASHINGTON</h5>
+
+<h6 class="extended">GOVERNMENT PRINTING OFFICE</h6>
+
+<h6>1891</h6>
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<hr />
+
+<h4>CONTENTS.</h4>
+
+<hr class="tiny" />
+
+<h5>REPORT OF THE DIRECTOR.</h5>
+
+<table class="toc" summary="table of contents">
+<tr>
+<td><a href="#intro_letter">
+Letter of transmittal</a></td>
+</tr>
+<tr>
+<td><a href="#intro_intro">
+Introduction</a></td>
+</tr>
+<tr>
+<td><a href="#intro_pub">
+Publication</a></td>
+</tr>
+<tr>
+<td><a href="#intro_field">
+Field work</a></td>
+</tr>
+<tr>
+<td class="inset"><a href="#intro_field_mound">
+Mound explorations</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_field_mound_thomas">
+Work of Prof. Cyrus Thomas</a></td>
+</tr>
+<tr>
+<td class="inset"><a href="#intro_field_general">
+General field studies</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_field_general_gatschet">
+Work of Mr. A. S. Gatschet</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_field_general_curtin">
+Work of Mr. Jeremiah Curtin</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_field_general_hoffman">
+Work of Dr. W. J. Hoffman</a></td>
+</tr>
+<tr>
+<td><a href="#intro_office">
+Office work</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_powell">
+Work of Maj. J. W. Powell</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_thomas">
+Work of Prof. Cyrus Thomas</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_fowke">
+Work of Mr. Gerard Fowke</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_reynolds">
+Work of Mr. H. L. Reynolds</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_middleton">
+Work of Mr. James D. Middleton</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_pilling">
+Work of Mr. James C. Pilling</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_cushing">
+Work of Mr. Frank H. Cushing</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_royce">
+Work of Mr. Charles C. Royce</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_holmes">
+Work of Mr. William H. Holmes</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_mindeleffv">
+Work of Mr. Victor Mindeleff</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_mindeleffc">
+Work of Mr. Cosmos Mindeleff</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_nelson">
+Work of Mr. E. W. Nelson</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_turner">
+Work of Mr. Lucien M. Turner</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_henshaw">
+Work of Mr. Henry W. Henshaw</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_mallery">
+Work of Col. Garrick Mallery</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_mooney">
+Work of Mr. James Mooney</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_hewitt">
+Work of Mr. John N. B. Hewitt</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_gatschet">
+Work of Mr. Albert S. Gatschet</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_dorsey">
+Work of Mr. J. Owen Dorsey</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_hoffman">
+Work of Dr. W. J. Hoffman</a></td>
+</tr>
+<tr>
+<td class="inset2"><a href="#intro_office_curtin">
+Work of Mr. Jeremiah Curtin</a></td>
+</tr>
+<tr>
+<td><a href="#intro_accom">
+Accompanying papers</a></td>
+</tr>
+<tr>
+<td class="inset"><p><a href="#intro_accom_pueblo">
+A study of Pueblo Architecture, Tusayan and Cibola, by Victor
+Mindeleff</a></p></td>
+</tr>
+<tr>
+<td class="inset"><p><a href="#intro_accom_cerem">
+Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo
+Indians, by James Stevenson</a></p></td>
+</tr>
+<tr>
+<td><a href="#intro_finan">
+Financial statement</a></td>
+</tr>
+<tr>
+<td class="filler">&nbsp;</td>
+<td></td>
+</tr>
+<tr>
+<td class="sans"><a href="#index">Index</a></td>
+<td></td>
+</tr>
+</table>
+
+<h4>ACCOMPANYING PAPERS.</h4>
+
+<p>&nbsp;</p>
+
+<h6>A STUDY OF PUEBLO ARCHITECTURE, TUSAYAN AND CIBOLA, BY VICTOR MINDELEFF.</h6>
+
+<p class="mynote">
+This article is in a separate file. As in the printed original, it
+includes a duplicate table of contents and list of illustrations; the
+Index was added by the transcriber.</p>
+
+<table class="toc" summary="Pueblo Architecture contents">
+<tr>
+<td></td>
+<td class="number">Page.</td>
+</tr>
+<tr>
+<td>Introduction</td>
+<td class="number">13</td>
+</tr>
+<tr>
+<td>
+<span class="smallcaps">Chapter I.</span>&mdash;
+<ins class="correction" title="body text has ‘Traditional’">Traditionary</ins> history of
+Tusayan</td>
+<td class="number">16</td>
+</tr>
+<tr>
+<td class="inset">Explanatory</td>
+<td class="number">16</td>
+</tr>
+<tr>
+<td class="inset">Summary of traditions</td>
+<td class="number">16</td>
+</tr>
+<tr>
+<td class="inset">List of traditionary gentes</td>
+<td class="number">38</td>
+</tr>
+<tr>
+<td class="inset">Supplementary legend</td>
+<td class="number">40</td>
+</tr>
+<tr>
+<td>
+<span class="smallcaps">Chapter II.</span>&mdash;
+Ruins and inhabited villages of Tusayan</td>
+<td class="number">42</td>
+</tr>
+<tr>
+<td class="inset">Physical features of the province</td>
+<td class="number">42</td>
+</tr>
+<tr>
+<td class="inset">Methods of survey</td>
+<td class="number">44</td>
+</tr>
+<tr>
+<td class="inset">Plans and description of ruins</td>
+<td class="number">45</td>
+</tr>
+<tr>
+<td class="inset2">Walpi ruins</td>
+<td class="number">46</td>
+</tr>
+<tr>
+<td class="inset2">Old Mashongnavi</td>
+<td class="number">47</td>
+</tr>
+<tr>
+<td class="inset2">Shitaimuvi</td>
+<td class="number">48</td>
+</tr>
+<tr>
+<td class="inset2">Awatubi</td>
+<td class="number">49</td>
+</tr>
+<tr>
+<td class="inset2">Horn House</td>
+<td class="number">50</td>
+</tr>
+<tr>
+<td class="inset2">
+Small ruin <ins class="correction" title="body text has ‘between Horn House and Bat House’">near Horn
+House</ins></td>
+<td class="number">51</td>
+</tr>
+<tr>
+<td class="inset2">Bat House</td>
+<td class="number">52</td>
+</tr>
+<tr>
+<td class="inset2">Mishiptonga</td>
+<td class="number">52</td>
+</tr>
+<tr>
+<td class="inset2">
+<ins class="correction" title="body text has ‘Moen-kopi ruins’">Moen-kopi</ins></td>
+<td class="number">53</td>
+</tr>
+<tr>
+<td class="inset2">Ruins on the Oraibi wash</td>
+<td class="number">54</td>
+</tr>
+<tr>
+<td class="inset2">Kwaituki</td>
+<td class="number">56</td>
+</tr>
+<tr>
+<td class="inset2">Tebugkihu, or Fire House</td>
+<td class="number">57</td>
+</tr>
+<tr>
+<td class="inset2">Chukubi</td>
+<td class="number">59</td>
+</tr>
+<tr>
+<td class="inset2">Payupki</td>
+<td class="number">59</td>
+</tr>
+<tr>
+<td class="inset">Plans and descriptions of inhabited villages</td>
+<td class="number">61</td>
+</tr>
+<tr>
+<td class="inset2">Hano</td>
+<td class="number">61</td>
+</tr>
+<tr>
+<td class="inset2">Sichumovi</td>
+<td class="number">62</td>
+</tr>
+<tr>
+<td class="inset2">Walpi</td>
+<td class="number">63</td>
+</tr>
+<tr>
+<td class="inset2">Mashongnavi</td>
+<td class="number">66</td>
+</tr>
+<tr>
+<td class="inset2">Shupaulovi</td>
+<td class="number">71</td>
+</tr>
+<tr>
+<td class="inset2">Shumopavi</td>
+<td class="number">73</td>
+</tr>
+<tr>
+<td class="inset2">Oraibi</td>
+<td class="number">76</td>
+</tr>
+<tr>
+<td class="inset2">Moen-kopi</td>
+<td class="number">77</td>
+</tr>
+<tr>
+<td>
+<span class="smallcaps">Chapter III.</span>&mdash;
+Ruins and inhabited villages of Cibola</td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="inset">Physical features of the province</td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="inset">Plans and descriptions of ruins</td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="inset2">Hawikuh</td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="inset2">Ketchipauan</td>
+<td class="number">81</td>
+</tr>
+<tr>
+<td class="inset2">Chalowe</td>
+<td class="number">83</td>
+</tr>
+<tr>
+<td class="inset2">Hampassawan</td>
+<td class="number">84</td>
+</tr>
+<tr>
+<td class="inset2">K’iakima</td>
+<td class="number">85</td>
+</tr>
+<tr>
+<td class="inset2">Matsaki</td>
+<td class="number">86</td>
+</tr>
+<tr>
+<td class="inset2">Pinawa</td>
+<td class="number">86</td>
+</tr>
+<tr>
+<td class="inset2">Halona</td>
+<td class="number">88</td>
+</tr>
+<tr>
+<td class="inset2">
+<ins class="correction" title="body text has ‘Tâaaiyalana’ alone">Tâaaiyalana ruins</ins></td>
+<td class="number">89</td>
+</tr>
+<tr>
+<td class="inset2">
+<ins class="correction" title="body text has ‘Kin-tiel’ alone">Kin-tiel and Kinna-Zinde</ins></td>
+<td class="number">91</td>
+</tr>
+<tr>
+<td class="inset">Plans and descriptions of inhabited villages</td>
+<td class="number">94</td>
+</tr>
+<tr>
+<td class="inset2">Nutria</td>
+<td class="number">94</td>
+</tr>
+<tr>
+<td class="inset2">Pescado</td>
+<td class="number">95</td>
+</tr>
+<tr>
+<td class="inset2">Ojo Caliente</td>
+<td class="number">96</td>
+</tr>
+<tr>
+<td class="inset2">Zuñi</td>
+<td class="number">97</td>
+</tr>
+
+<tr>
+<td>
+<p><span class="smallcaps">Chapter IV.</span>&mdash;
+Architecture of Tusayan and Cibola compared by constructional
+details</p></td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="inset">Introduction</td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="inset">House building</td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="inset2">Rites and methods</td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="inset2">Localization of gentes</td>
+<td class="number">104</td>
+</tr>
+<tr>
+<td class="inset2">Interior arrangement</td>
+<td class="number">108</td>
+</tr>
+<tr>
+<td class="inset">Kivas in Tusayan</td>
+<td class="number">111</td>
+</tr>
+<tr>
+<td class="inset3">General use of kivas by pueblo builders</td>
+<td class="number">111</td>
+</tr>
+<tr>
+<td class="inset3">Origin of the name</td>
+<td class="number">111</td>
+</tr>
+<tr>
+<td class="inset3">Antiquity of the kiva</td>
+<td class="number">111</td>
+</tr>
+<tr>
+<td class="inset3">Excavation of the kiva</td>
+<td class="number">112</td>
+</tr>
+<tr>
+<td class="inset3">Access</td>
+<td class="number">113</td>
+</tr>
+<tr>
+<td class="inset3">Masonry</td>
+<td class="number">114</td>
+</tr>
+<tr>
+<td class="inset3">Orientation</td>
+<td class="number">115</td>
+</tr>
+<tr>
+<td class="inset3">The ancient form of kiva</td>
+<td class="number">116</td>
+</tr>
+<tr>
+<td class="inset3">Native explanations of position</td>
+<td class="number">117</td>
+</tr>
+<tr>
+<td class="inset2">Methods of kiva building and rites</td>
+<td class="number">118</td>
+</tr>
+<tr>
+<td class="inset3">Typical plans</td>
+<td class="number">118</td>
+</tr>
+<tr>
+<td class="inset3">Work by women</td>
+<td class="number">129</td>
+</tr>
+<tr>
+<td class="inset3">Consecration</td>
+<td class="number">129</td>
+</tr>
+<tr>
+<td class="inset3">Various uses of kivas</td>
+<td class="number">130</td>
+</tr>
+<tr>
+<td class="inset3">Kiva ownership</td>
+<td class="number">133</td>
+</tr>
+<tr>
+<td class="inset3">Motives for building a kiva</td>
+<td class="number">134</td>
+</tr>
+<tr>
+<td class="inset3">Significance of structural plan</td>
+<td class="number">135</td>
+</tr>
+<tr>
+<td class="inset3">Typical measurements</td>
+<td class="number">136</td>
+</tr>
+<tr>
+<td class="inset3">List of Tusayan kivas</td>
+<td class="number">136</td>
+</tr>
+<tr>
+<td class="inset">Details of Tusayan and Cibola construction</td>
+<td class="number">137</td>
+</tr>
+<tr>
+<td class="inset2">Walls</td>
+<td class="number">137</td>
+</tr>
+<tr>
+<td class="inset2">Roofs and floors</td>
+<td class="number">148</td>
+</tr>
+<tr>
+<td class="inset2">Wall copings and roof drains</td>
+<td class="number">151</td>
+</tr>
+<tr>
+<td class="inset2">Ladders and steps</td>
+<td class="number">156</td>
+</tr>
+<tr>
+<td class="inset2">Cooking pits and ovens</td>
+<td class="number">162</td>
+</tr>
+<tr>
+<td class="inset2">Oven-shaped structures</td>
+<td class="number">167</td>
+</tr>
+<tr>
+<td class="inset2">Fireplaces and chimneys</td>
+<td class="number">167</td>
+</tr>
+<tr>
+<td class="inset2">Gateways and covered passages</td>
+<td class="number">180</td>
+</tr>
+<tr>
+<td class="inset2">Doors</td>
+<td class="number">182</td>
+</tr>
+<tr>
+<td class="inset2">Windows</td>
+<td class="number">194</td>
+</tr>
+<tr>
+<td class="inset2">Roof openings</td>
+<td class="number">201</td>
+</tr>
+<tr>
+<td class="inset2">Furniture</td>
+<td class="number">208</td>
+</tr>
+<tr>
+<td class="inset2">
+<ins class="correction" title="body text has ‘Corrals and gardens’ only">Corrals and gardens;
+eagle cages</ins></td>
+<td class="number">214</td>
+</tr>
+<tr>
+<td class="inset2">“Kisi” construction</td>
+<td class="number">217</td>
+</tr>
+<tr>
+<td class="inset2">Architectural nomenclature</td>
+<td class="number">220</td>
+</tr>
+<tr>
+<td>Concluding remarks</td>
+<td class="number">223</td>
+</tr>
+</table>
+
+<p>&nbsp;</p>
+
+<h6>CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING
+OF THE NAVAJO INDIANS, BY JAMES STEVENSON.</h6>
+
+<p class="mynote">
+This article is in a separate file. As in the printed original, it
+includes a duplicate table of contents and list of illustrations; the
+Index was added by the transcriber.</p>
+
+<table class="toc" summary="Ceremonial contents">
+<tr>
+<td>Introduction</td>
+<td class="number">235</td>
+</tr>
+<tr>
+<td>Construction of the Medicine Lodge</td>
+<td class="number">237</td>
+</tr>
+<tr>
+<td>First day</td>
+<td class="number">237</td>
+</tr>
+<tr>
+<td class="inset">Personators of the gods</td>
+<td class="number">237</td>
+</tr>
+<tr>
+<td>Second day</td>
+<td class="number">239</td>
+</tr>
+<tr>
+<td class="inset">Description of the sweat houses</td>
+<td class="number">239</td>
+</tr>
+<tr>
+<td class="inset">Sweat houses and masks</td>
+<td class="number">242</td>
+</tr>
+<tr>
+<td class="inset">
+<p>Preparation of the sacred reeds (cigarettes) and prayer-sticks</p>
+</td>
+<td class="number">242</td>
+</tr>
+<tr>
+<td>
+Third day</td>
+<td class="number">244</td>
+</tr>
+<tr>
+<td class="inset">First ceremony</td>
+<td class="number">244</td>
+</tr>
+<tr>
+<td class="inset">Second ceremony</td>
+<td class="number">245</td>
+</tr>
+<tr>
+<td class="inset">Third ceremony</td>
+<td class="number">247</td>
+</tr>
+<tr>
+<td class="inset">Fourth ceremony (night)</td>
+<td class="number">248</td>
+</tr>
+<tr>
+<td>Fourth day</td>
+<td class="number">249</td>
+</tr>
+<tr>
+<td class="inset">First ceremony</td>
+<td class="number">249</td>
+</tr>
+<tr>
+<td class="inset">Second ceremony</td>
+<td class="number">250</td>
+</tr>
+<tr>
+<td class="inset">Third ceremony</td>
+<td class="number">250</td>
+</tr>
+<tr>
+<td class="inset">Fourth ceremony</td>
+<td class="number">252</td>
+</tr>
+<tr>
+<td class="inset">Fifth ceremony</td>
+<td class="number">253</td>
+</tr>
+<tr>
+<td class="inset">Sixth ceremony</td>
+<td class="number">253</td>
+</tr>
+<tr>
+<td class="inset">Foods brought into the lodge</td>
+<td class="number">256</td>
+</tr>
+<tr>
+<td>Fifth day</td>
+<td class="number">257</td>
+</tr>
+<tr>
+<td class="inset">First ceremony</td>
+<td class="number">257</td>
+</tr>
+<tr>
+<td class="inset">Second ceremony</td>
+<td class="number">259</td>
+</tr>
+<tr>
+<td class="inset">Third ceremony</td>
+<td class="number">260</td>
+</tr>
+<tr>
+<td>Sixth day</td>
+<td class="number">261</td>
+</tr>
+<tr>
+<td>Seventh day</td>
+<td class="number">263</td>
+</tr>
+<tr>
+<td>Eighth day</td>
+<td class="number">265</td>
+</tr>
+<tr>
+<td>Ninth day</td>
+<td class="number">269</td>
+</tr>
+<tr>
+<td class="inset">First ceremony</td>
+<td class="number">269</td>
+</tr>
+<tr>
+<td class="inset">Second ceremony</td>
+<td class="number">270</td>
+</tr>
+<tr>
+<td class="inset2">Song of the Etsethle</td>
+<td class="number">272</td>
+</tr>
+<tr>
+<td class="inset2">Prayer to the Etsethle</td>
+<td class="number">272</td>
+</tr>
+<tr>
+<td class="inset">Conclusion&mdash;the dance</td>
+<td class="number">273</td>
+</tr>
+<tr>
+<td>Myths of the Navajo</td>
+<td class="number">275</td>
+</tr>
+<tr>
+<td class="inset">Creation of the sun</td>
+<td class="number">275</td>
+</tr>
+<tr>
+<td class="inset">Hasjelti and Hostjoghon</td>
+<td class="number">277</td>
+</tr>
+<tr>
+<td class="inset">The floating logs</td>
+<td class="number">278</td>
+</tr>
+<tr>
+<td class="inset">Naiyenesgony and Tobaidischinni</td>
+<td class="number">279</td>
+</tr>
+<tr>
+<td class="inset">The brothers</td>
+<td class="number">280</td>
+</tr>
+<tr>
+<td class="inset"><p>The old man and woman of the first world</p></td>
+<td class="number">284</td>
+</tr>
+</table>
+
+<h4>ILLUSTRATIONS.</h4>
+
+<hr class="tiny" />
+
+<div class="mynote">
+
+<p>Plates I-CXI and Figures 1-114 accompany <i>Pueblo Architecture</i>;
+the remaining Plates and Figures accompany <i>Hasjelti Dailjis</i>. Each
+article is in a separate file.</p>
+
+</div>
+
+<table class="toc" summary="list of plates">
+<tr>
+<td></td><td></td>
+<td class="number">Page.</td>
+</tr>
+<tr>
+<td class="item smallcaps">Plate&nbsp;I.</td>
+<td><p>Map of the provinces of Tusayan and Cibola</p></td>
+<td class="number">12</td>
+</tr>
+<tr>
+<td class="item">II.</td>
+<td>Old Mashongnavi, plan</td>
+<td class="number">14</td>
+</tr>
+<tr>
+<td class="item">III.</td>
+<td>General view of Awatubi</td>
+<td class="number">16</td>
+</tr>
+<tr>
+<td class="item">IV.</td>
+<td>Awatubi (Talla-Hogan), plan</td>
+<td class="number">18</td>
+</tr>
+<tr>
+<td class="item">V.</td>
+<td>Standing walls of Awatubi</td>
+<td class="number">20</td>
+</tr>
+<tr>
+<td class="item">VI.</td>
+<td>Adobe fragment in Awatubi</td>
+<td class="number">22</td>
+</tr>
+<tr>
+<td class="item">VII.</td>
+<td>Horn House ruin, plan</td>
+<td class="number">24</td>
+</tr>
+<tr>
+<td class="item">VIII.</td>
+<td>Bat House</td>
+<td class="number">26</td>
+</tr>
+<tr>
+<td class="item">IX.</td>
+<td>Mishiptonga (Jeditoh)</td>
+<td class="number">28</td>
+</tr>
+<tr>
+<td class="item">X.</td>
+<td>A small ruin near Moen-kopi</td>
+<td class="number">30</td>
+</tr>
+<tr>
+<td class="item">XI.</td>
+<td><p>Masonry on the outer wall of the Fire-House, detail</p></td>
+<td class="number">32</td>
+</tr>
+<tr>
+<td class="item">XII.</td>
+<td>Chukubi, plan</td>
+<td class="number">34</td>
+</tr>
+<tr>
+<td class="item">XIII.</td>
+<td>Payupki, plan</td>
+<td class="number">36</td>
+</tr>
+<tr>
+<td class="item">XIV.</td>
+<td>General view of Payupki</td>
+<td class="number">38</td>
+</tr>
+<tr>
+<td class="item">XV.</td>
+<td>Standing walls of Payupki</td>
+<td class="number">40</td>
+</tr>
+<tr>
+<td class="item">XVI.</td>
+<td>Plan of Hano</td>
+<td class="number">42</td>
+</tr>
+<tr>
+<td class="item">XVII.</td>
+<td>View of Hano</td>
+<td class="number">44</td>
+</tr>
+<tr>
+<td class="item">XVIII.</td>
+<td>Plan of Sichumovi</td>
+<td class="number">46</td>
+</tr>
+<tr>
+<td class="item">XIX.</td>
+<td>View of Sichumovi</td>
+<td class="number">48</td>
+</tr>
+<tr>
+<td class="item">XX.</td>
+<td>Plan of Walpi</td>
+<td class="number">50</td>
+</tr>
+<tr>
+<td class="item">XXI.</td>
+<td>View of Walpi</td>
+<td class="number">52</td>
+</tr>
+<tr>
+<td class="item">XXII.</td>
+<td>South passageway of Walpi</td>
+<td class="number">54</td>
+</tr>
+<tr>
+<td class="item">XXIII.</td>
+<td>Houses built over irregular sites, Walpi</td>
+<td class="number">56</td>
+</tr>
+<tr>
+<td class="item">XXIV.</td>
+<td>Dance rock and kiva, Walpi</td>
+<td class="number">58</td>
+</tr>
+<tr>
+<td class="item">XXV.</td>
+<td>Foot trail to Walpi</td>
+<td class="number">60</td>
+</tr>
+<tr>
+<td class="item">XXVI.</td>
+<td>Mashongnavi, plan</td>
+<td class="number">62</td>
+</tr>
+<tr>
+<td class="item">XXVII.</td>
+<td>Mashongnavi with Shupaulovi in distance</td>
+<td class="number">64</td>
+</tr>
+<tr>
+<td class="item">XXVIII.</td>
+<td>Back wall of a Mashongnavi house-row</td>
+<td class="number">66</td>
+</tr>
+<tr>
+<td class="item">XXIX.</td>
+<td><p>West side of a principal row in Mashongnavi</p></td>
+<td class="number">68</td>
+</tr>
+<tr>
+<td class="item">XXX.</td>
+<td>Plan of Shupaulovi</td>
+<td class="number">70</td>
+</tr>
+<tr>
+<td class="item">XXXI.</td>
+<td>View of Shupaulovi</td>
+<td class="number">72</td>
+</tr>
+<tr>
+<td class="item">XXXII.</td>
+<td>A covered passageway of Shupaulovi</td>
+<td class="number">74</td>
+</tr>
+<tr>
+<td class="item">XXXIII.</td>
+<td>The chief kiva of Shupaulovi</td>
+<td class="number">76</td>
+</tr>
+<tr>
+<td class="item">XXXIV.</td>
+<td>Plan of Shumopavi</td>
+<td class="number">78</td>
+</tr>
+<tr>
+<td class="item">XXXV.</td>
+<td>View of Shumopavi</td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="item">XXXVI.</td>
+<td>Oraibi, plan</td>
+<td class="number">In&nbsp;pocket.</td>
+</tr>
+<tr>
+<td class="item">XXXVII.</td>
+<td><p>Key to the Oraibi plan, also showing localization of
+gentes</p></td>
+<td class="number">82</td>
+</tr>
+<tr>
+<td class="item">XXXVIII.</td>
+<td>A court of Oraibi</td>
+<td class="number">84</td>
+</tr>
+<tr>
+<td class="item">XXXIX.</td>
+<td>Masonry terraces of Oraibi</td>
+<td class="number">86</td>
+</tr>
+<tr>
+<td class="item">XL.</td>
+<td>Oraibi house row, showing court side</td>
+<td class="number">88</td>
+</tr>
+<tr>
+<td class="item">XLI.</td>
+<td>Back of Oraibi house row</td>
+<td class="number">90</td>
+</tr>
+<tr>
+<td class="item">
+XLII.</td>
+<td>The site of Moen-kopi</td>
+<td class="number">92</td>
+</tr>
+<tr>
+<td class="item">XLIII.</td>
+<td>Plan of Moen-kopi</td>
+<td class="number">94</td>
+</tr>
+<tr>
+<td class="item">XLIV.</td>
+<td>Moen-kopi</td>
+<td class="number">96</td>
+</tr>
+<tr>
+<td class="item">XLV.</td>
+<td>The Mormon mill at Moen-kopi</td>
+<td class="number">98</td>
+</tr>
+<tr>
+<td class="item">XLVI.</td>
+<td>Hawikuh, plan</td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="item">XLVII.</td>
+<td>Hawikuh, view</td>
+<td class="number">102</td>
+</tr>
+<tr>
+<td class="item">XLVIII.</td>
+<td>Adobe church at Hawikuh</td>
+<td class="number">104</td>
+</tr>
+<tr>
+<td class="item">XLIX.</td>
+<td>Ketchipanan, plan</td>
+<td class="number">106</td>
+</tr>
+<tr>
+<td class="item">L.</td>
+<td>Ketchipauan</td>
+<td class="number">108</td>
+</tr>
+<tr>
+<td class="item">LI.</td>
+<td>Stone church at Ketchipauan</td>
+<td class="number">110</td>
+</tr>
+<tr>
+<td class="item">LII.</td>
+<td>K’iakima, plan</td>
+<td class="number">112</td>
+</tr>
+<tr>
+<td class="item">LIII.</td>
+<td>Site of K’iakima, at base of Tâaaiyalana</td>
+<td class="number">114</td>
+</tr>
+<tr>
+<td class="item">LIV.</td>
+<td>Recent wall at K’iakima</td>
+<td class="number">116</td>
+</tr>
+<tr>
+<td class="item">LV.</td>
+<td>Matsaki, plan</td>
+<td class="number">118</td>
+</tr>
+<tr>
+<td class="item">LVI.</td>
+<td>Standing wall at Pinawa</td>
+<td class="number">120</td>
+</tr>
+<tr>
+<td class="item">LVII.</td>
+<td>Halona excavations as seen from Zuñi</td>
+<td class="number">122</td>
+</tr>
+<tr>
+<td class="item">LVIII.</td>
+<td>Fragments of Halona wall</td>
+<td class="number">124</td>
+</tr>
+<tr>
+<td class="item">LIX.</td>
+<td>The mesa of Tâaaiyalana, from Zuñi</td>
+<td class="number">126</td>
+</tr>
+<tr>
+<td class="item">LX.</td>
+<td>Tâaaiyalana, plan</td>
+<td class="number">128</td>
+</tr>
+<tr>
+<td class="item">LXI.</td>
+<td>Standing walls of Tâaaiyalana ruins</td>
+<td class="number">130</td>
+</tr>
+<tr>
+<td class="item">LXII.</td>
+<td>Remains of a reservoir on Tâaaiyalana</td>
+<td class="number">132</td>
+</tr>
+<tr>
+<td class="item">LXIII.</td>
+<td><p>Kin-tiel, plan (also showing excavations)</p></td>
+<td class="number">134</td>
+</tr>
+<tr>
+<td class="item">LXIV.</td>
+<td>North wall of Kin-tiel</td>
+<td class="number">136</td>
+</tr>
+<tr>
+<td class="item">LXV.</td>
+<td>Standing walls of Kin-tiel</td>
+<td class="number">138</td>
+</tr>
+<tr>
+<td class="item">LXVI.</td>
+<td>Kinna-Zinde</td>
+<td class="number">140</td>
+</tr>
+<tr>
+<td class="item">LXVII.</td>
+<td>Nutria, plan</td>
+<td class="number">142</td>
+</tr>
+<tr>
+<td class="item">LXVIII.</td>
+<td>Nutria, view</td>
+<td class="number">144</td>
+</tr>
+<tr>
+<td class="item">LXIX.</td>
+<td>Pescado, plan</td>
+<td class="number">146</td>
+</tr>
+<tr>
+<td class="item">LXX.</td>
+<td>Court view of Pescado, showing corrals</td>
+<td class="number">148</td>
+</tr>
+<tr>
+<td class="item">LXXI.</td>
+<td>Pescado houses</td>
+<td class="number">150</td>
+</tr>
+<tr>
+<td class="item">LXXII.</td>
+<td>Fragments of ancient masonry in Pescado</td>
+<td class="number">152</td>
+</tr>
+<tr>
+<td class="item">LXXIII.</td>
+<td>Ojo Caliente, plan</td>
+<td class="number">In&nbsp;pocket.</td>
+</tr>
+<tr>
+<td class="item">LXXIV.</td>
+<td>General view of Ojo Caliente</td>
+<td class="number">154</td>
+</tr>
+<tr>
+<td class="item">LXXV.</td>
+<td>House at Ojo Caliente</td>
+<td class="number">156</td>
+</tr>
+<tr>
+<td class="item">LXXVI.</td>
+<td>Zuñi, plan</td>
+<td class="number">In&nbsp;pocket.</td>
+</tr>
+<tr>
+<td class="item">LXXVII.</td>
+<td><p>Outline plan of Zuñi, showing distribution of oblique
+openings</p></td>
+<td class="number">158</td>
+</tr>
+<tr>
+<td class="item">LXXVIII.</td>
+<td><p>General inside view of Zuñi, looking west</p></td>
+<td class="number">160</td>
+</tr>
+<tr>
+<td class="item">LXXIX.</td>
+<td>Zuñi terraces</td>
+<td class="number">162</td>
+</tr>
+<tr>
+<td class="item">LXXX.</td>
+<td>Old adobe church of Zuñi</td>
+<td class="number">164</td>
+</tr>
+<tr>
+<td class="item">LXXXI.</td>
+<td>Eastern rows of Zuñi</td>
+<td class="number">166</td>
+</tr>
+<tr>
+<td class="item">LXXXII.</td>
+<td>A Zuñi court</td>
+<td class="number">168</td>
+</tr>
+<tr>
+<td class="item">LXXXIII.</td>
+<td>A Zuñi small house</td>
+<td class="number">170</td>
+</tr>
+<tr>
+<td class="item">LXXXIV.</td>
+<td>A house-building at Oraibi</td>
+<td class="number">172</td>
+</tr>
+<tr>
+<td class="item">LXXXV.</td>
+<td>A Tusayan interior</td>
+<td class="number">174</td>
+</tr>
+<tr>
+<td class="item">LXXXVI.</td>
+<td>A Zuñi interior</td>
+<td class="number">176</td>
+</tr>
+<tr>
+<td class="item">LXXXVII.</td>
+<td>A kiva hatchway of Tusayan</td>
+<td class="number">178</td>
+</tr>
+<tr>
+<td class="item">LXXXVIII.</td>
+<td><p>North kivas of Shumopavi, from the northeast</p></td>
+<td class="number">180</td>
+</tr>
+<tr>
+<td class="item">LXXXIX.</td>
+<td>Masonry in the north wing of Kin-tiel</td>
+<td class="number">182</td>
+</tr>
+<tr>
+<td class="item">XC.</td>
+<td>Adobe garden walls near Zuñi.</td>
+<td class="number">184</td>
+</tr>
+<tr>
+<td class="item">XCI.</td>
+<td>A group of stone corrals near Oraibi</td>
+<td class="number">186</td>
+</tr>
+<tr>
+<td class="item">XCII.</td>
+<td><p>An inclosing wall of upright stones at Ojo Caliente</p></td>
+<td class="number">188</td>
+</tr>
+<tr>
+<td class="item">XCIII.</td>
+<td><p>Upright blocks of sandstone built into an ancient pueblo
+wall</p></td>
+<td class="number">190</td>
+</tr>
+<tr>
+<td class="item">XCIV.</td>
+<td><p>Ancient wall of upright rocks in southwestern Colorado</p></td>
+<td class="number">192</td>
+</tr>
+<tr>
+<td class="item">XCV.</td>
+<td>Ancient floor-beams at Kin-tiel</td>
+<td class="number">194</td>
+</tr>
+<tr>
+<td class="item">XCVI.</td>
+<td>Adobe walls in Zuñi</td>
+<td class="number">196</td>
+</tr>
+<tr>
+<td class="item">
+XCVII.</td>
+<td>Wall coping and oven at Zuñi</td>
+<td class="number">198</td>
+</tr>
+<tr>
+<td class="item">XCVIII.</td>
+<td>Cross-pieces on Zuñi ladders</td>
+<td class="number">200</td>
+</tr>
+<tr>
+<td class="item">XCIX.</td>
+<td>Outside steps at Pescado</td>
+<td class="number">202</td>
+</tr>
+<tr>
+<td class="item">C.</td>
+<td>An excavated room at Kin-tiel</td>
+<td class="number">204</td>
+</tr>
+<tr>
+<td class="item">CI.</td>
+<td>Masonry chimneys of Zuñi</td>
+<td class="number">206</td>
+</tr>
+<tr>
+<td class="item">CII.</td>
+<td>Remains of a gateway in Awatubi</td>
+<td class="number">208</td>
+</tr>
+<tr>
+<td class="item">CIII.</td>
+<td>Ancient gateway, Kin-tiel</td>
+<td class="number">210</td>
+</tr>
+<tr>
+<td class="item">CIV.</td>
+<td>A covered passageway in Mashongnavi</td>
+<td class="number">212</td>
+</tr>
+<tr>
+<td class="item">CV.</td>
+<td>Small square openings in Pueblo Bonito</td>
+<td class="number">214</td>
+</tr>
+<tr>
+<td class="item">CVI.</td>
+<td><p>Sealed openings in a detached house of Nutria</p></td>
+<td class="number">216</td>
+</tr>
+<tr>
+<td class="item">CVII.</td>
+<td><p>Partial filling-in of a large opening in Oraibi, converting it
+into a doorway</p></td>
+<td class="number">218</td>
+</tr>
+<tr>
+<td class="item">CVIII.</td>
+<td><p>Large openings reduced to small windows, Oraibi</p></td>
+<td class="number">220</td>
+</tr>
+<tr>
+<td class="item">CIX.</td>
+<td>Stone corrals and kiva of Mashongnavi</td>
+<td class="number">222</td>
+</tr>
+<tr>
+<td class="item">CX.</td>
+<td>Portion of a corral in Pescado</td>
+<td class="number">224</td>
+</tr>
+<tr>
+<td class="item">CXI.</td>
+<td>Zuñi eagle-cage</td>
+<td class="number">226</td>
+</tr>
+
+<tr>
+<td class="item">CXII.</td>
+<td><p>A, Rainbow over eastern sweat house; B,&nbsp;Rainbow over western
+sweat house</p></td>
+<td class="number">240</td>
+</tr>
+<tr>
+<td class="item">CXIII.</td>
+<td><p>Blanket rug and medicine tubes</p></td>
+<td class="number">242</td>
+</tr>
+<tr>
+<td class="item">CXIV.</td>
+<td><p>Blanket rug and medicine tubes</p></td>
+<td class="number">244</td>
+</tr>
+<tr>
+<td class="item">CXV.</td>
+<td><p>Masks: 1, Naiyenesyong; 2,&nbsp;3, Tobaidischinne; 4,&nbsp;5,
+Hasjelti; 6,&nbsp;Hostjoghon; 7,&nbsp;Hostjobokon;
+8,&nbsp;Hostjoboard</p></td>
+<td class="number">246</td>
+</tr>
+<tr>
+<td class="item">CXVI.</td>
+<td><p>Blanket rug and medicine tubes</p></td>
+<td class="number">248</td>
+</tr>
+<tr>
+<td class="item">CXVII.</td>
+<td><p>1, Pine boughs on sand bed; 2,&nbsp;Apache basket containing
+yucca suds lined with corn pollen; 3,&nbsp;Basket of water surface
+covered with pine needles</p></td>
+<td class="number">250</td>
+</tr>
+<tr>
+<td class="item">CXVIII.</td>
+<td><p>Blanket rug and medicine tubes and sticks</p></td>
+<td class="number">252</td>
+</tr>
+<tr>
+<td class="item">CXIX.</td>
+<td><p>Blanket rug and medicine tube</p></td>
+<td class="number">258</td>
+</tr>
+<tr>
+<td class="item">CXX.</td>
+<td><p>First sand painting</p></td>
+<td class="number">260</td>
+</tr>
+<tr>
+<td class="item">CXXI.</td>
+<td><p>Second sand painting</p></td>
+<td class="number">262</td>
+</tr>
+<tr>
+<td class="item">CXXII.</td>
+<td><p>Third sand painting</p></td>
+<td class="number">264</td>
+</tr>
+<tr>
+<td class="item">CXXIII.</td>
+<td><p>Fourth sand painting</p></td>
+<td class="number">266</td>
+</tr>
+</table>
+
+<table class="toc" summary="list of figures">
+<tr>
+<td></td><td></td>
+<td class="number">Page.</td>
+</tr>
+<tr>
+<td class="item smallcaps">Fig.&nbsp;1.</td>
+<td>View of the First Mesa</td>
+<td class="number">43</td>
+</tr>
+<tr>
+<td class="item">2.</td>
+<td>Ruins, Old Walpi mound</td>
+<td class="number">47</td>
+</tr>
+<tr>
+<td class="item">3.</td>
+<td>Ruin between Bat House and Horn House</td>
+<td class="number">51</td>
+</tr>
+<tr>
+<td class="item">4.</td>
+<td>Ruin near Moen-kopi, plan</td>
+<td class="number">53</td>
+</tr>
+<tr>
+<td class="item">5.</td>
+<td>Ruin 7 miles north of Oraibi</td>
+<td class="number">55</td>
+</tr>
+<tr>
+<td class="item">6.</td>
+<td>Ruin 14 miles north of Oraibi (Kwaituki)</td>
+<td class="number">56</td>
+</tr>
+<tr>
+<td class="item">7.</td>
+<td>Oval fire-house ruin, plan. (Tebugkihu)</td>
+<td class="number">58</td>
+</tr>
+<tr>
+<td class="item">8.</td>
+<td>Topography of the site of Walpi</td>
+<td class="number">64</td>
+</tr>
+<tr>
+<td class="item">9.</td>
+<td><p>Mashongnavi and Shupaulovi from Shumopavi</p></td>
+<td class="number">66</td>
+</tr>
+<tr>
+<td class="item">10.</td>
+<td>Diagram showing growth of Mashongnavi</td>
+<td class="number">67</td>
+</tr>
+<tr>
+<td class="item">11.</td>
+<td>Diagram showing growth of Mashongnavi</td>
+<td class="number">68</td>
+</tr>
+<tr>
+<td class="item">12.</td>
+<td>Diagram showing growth of Mashongnavi</td>
+<td class="number">69</td>
+</tr>
+<tr>
+<td class="item">13.</td>
+<td>Topography of the site of Shupaulovi</td>
+<td class="number">71</td>
+</tr>
+<tr>
+<td class="item">14.</td>
+<td>Court kiva of Shumopavi</td>
+<td class="number">75</td>
+</tr>
+<tr>
+<td class="item">15.</td>
+<td>Hampassawan, plan</td>
+<td class="number">84</td>
+</tr>
+<tr>
+<td class="item">16.</td>
+<td>Pinawa, plan</td>
+<td class="number">87</td>
+</tr>
+<tr>
+<td class="item">17.</td>
+<td>Nutria, plan; small diagram, old wall</td>
+<td class="number">94</td>
+</tr>
+<tr>
+<td class="item">18.</td>
+<td>Pescado, plan, old wall diagram</td>
+<td class="number">95</td>
+</tr>
+<tr>
+<td class="item">19.</td>
+<td>A Tusayan wood-rack</td>
+<td class="number">103</td>
+</tr>
+<tr>
+<td class="item">20.</td>
+<td>Interior ground plan of a Tusayan room</td>
+<td class="number">108</td>
+</tr>
+<tr>
+<td class="item">21.</td>
+<td><p>North kivas of Shumopavi from the southwest</p></td>
+<td class="number">114</td>
+</tr>
+<tr>
+<td class="item">22.</td>
+<td><p>Ground plan of the chief-kiva of Shupaulovi</p></td>
+<td class="number">122</td>
+</tr>
+<tr>
+<td class="item">23.</td>
+<td><p>Ceiling-plan of the chief-kiva of Shupaulovi</p></td>
+<td class="number">123</td>
+</tr>
+
+<tr>
+<td class="item">
+24.</td>
+<td>Interior view of a Tusayan kiva</td>
+<td class="number">124</td>
+</tr>
+<tr>
+<td class="item">25.</td>
+<td>Ground-plan of a Shupaulovi kiva</td>
+<td class="number">125</td>
+</tr>
+<tr>
+<td class="item">26.</td>
+<td>Ceiling-plan of a Shupaulovi kiva</td>
+<td class="number">125</td>
+</tr>
+<tr>
+<td class="item">27.</td>
+<td><p>Ground-plan of the chief-kiva of Mashongnavi</p></td>
+<td class="number">126</td>
+</tr>
+<tr>
+<td class="item">28.</td>
+<td><p>Interior view of a kiva hatchway in Tusayan</p></td>
+<td class="number">127</td>
+</tr>
+<tr>
+<td class="item">29.</td>
+<td><p>Mat used in closing the entrance of Tusayan kivas</p></td>
+<td class="number">128</td>
+</tr>
+<tr>
+<td class="item">30.</td>
+<td><p>Rectangular sipapuh in a Mashongnavi kiva</p></td>
+<td class="number">131</td>
+</tr>
+<tr>
+<td class="item">31.</td>
+<td>Loom-post in kiva floor at Tusayan</td>
+<td class="number">132</td>
+</tr>
+<tr>
+<td class="item">32.</td>
+<td><p>A Zuñi chimney showing pottery fragments embedded in its adobe
+base</p></td>
+<td class="number">139</td>
+</tr>
+<tr>
+<td class="item">33.</td>
+<td><p>A Zuñi oven with pottery scales embedded in its surface</p></td>
+<td class="number">139</td>
+</tr>
+<tr>
+<td class="item">34.</td>
+<td><p>Stone wedges of Zuñi masonry exposed in a rain-washed
+wall</p></td>
+<td class="number">141</td>
+</tr>
+<tr>
+<td class="item">35.</td>
+<td><p>An unplastered house wall in Ojo Caliente</p></td>
+<td class="number">142</td>
+</tr>
+<tr>
+<td class="item">36.</td>
+<td><p>Wall decorations in Mashongnavi, executed in pink on a white
+ground</p></td>
+<td class="number">146</td>
+</tr>
+<tr>
+<td class="item">37.</td>
+<td>Diagram of Zuñi roof construction</td>
+<td class="number">149</td>
+</tr>
+<tr>
+<td class="item">38.</td>
+<td><p>Showing abutment of smaller roof-beams over round
+girders</p></td>
+<td class="number">151</td>
+</tr>
+<tr>
+<td class="item">39.</td>
+<td>Single stone roof-drains</td>
+<td class="number">153</td>
+</tr>
+<tr>
+<td class="item">40.</td>
+<td>Trough roof-drains of stone</td>
+<td class="number">153</td>
+</tr>
+<tr>
+<td class="item">41.</td>
+<td>Wooden roof-drains</td>
+<td class="number">154</td>
+</tr>
+<tr>
+<td class="item">42.</td>
+<td>Curved roof-drains of stone in Tusayan</td>
+<td class="number">154</td>
+</tr>
+<tr>
+<td class="item">43.</td>
+<td><p>Tusayan roof-drains; a discarded metate and a gourd</p></td>
+<td class="number">155</td>
+</tr>
+<tr>
+<td class="item">44.</td>
+<td><p>Zuñi roof-drain, with splash-stones on roof below</p></td>
+<td class="number">156</td>
+</tr>
+<tr>
+<td class="item">45.</td>
+<td>A modern notched ladder in Oraibi</td>
+<td class="number">157</td>
+</tr>
+<tr>
+<td class="item">46.</td>
+<td>Tusayan notched ladders from Mashongnavi</td>
+<td class="number">157</td>
+</tr>
+<tr>
+<td class="item">47.</td>
+<td>Aboriginal American forms of ladder</td>
+<td class="number">158</td>
+</tr>
+<tr>
+<td class="item">48.</td>
+<td><p>Stone steps at Oraibi with platform at corner</p></td>
+<td class="number">161</td>
+</tr>
+<tr>
+<td class="item">49.</td>
+<td><p>Stone steps, with platform at chimney, in Oraibi</p></td>
+<td class="number">161</td>
+</tr>
+<tr>
+<td class="item">50.</td>
+<td>Stone steps in Shumopavi</td>
+<td class="number">162</td>
+</tr>
+<tr>
+<td class="item">51.</td>
+<td>A series of cooking pits in Mashongnavi</td>
+<td class="number">163</td>
+</tr>
+<tr>
+<td class="item">52.</td>
+<td>Pi-gummi ovens of Mashongnavi</td>
+<td class="number">163</td>
+</tr>
+<tr>
+<td class="item">53.</td>
+<td><p>Cross sections of pi-gummi ovens of Mashongnavi</p></td>
+<td class="number">163</td>
+</tr>
+<tr>
+<td class="item">54.</td>
+<td><p>Diagrams showing foundation stones of a Zuñi oven</p></td>
+<td class="number">164</td>
+</tr>
+<tr>
+<td class="item">55.</td>
+<td>Dome-shaped oven on a plinth of masonry</td>
+<td class="number">165</td>
+</tr>
+<tr>
+<td class="item">56.</td>
+<td><p>Oven in Pescado exposing stones of masonry</p></td>
+<td class="number">166</td>
+</tr>
+<tr>
+<td class="item">57.</td>
+<td><p>Oven in Pescado exposing stones of masonry</p></td>
+<td class="number">166</td>
+</tr>
+<tr>
+<td class="item">58.</td>
+<td>Shrines in Mashongnavi</td>
+<td class="number">167</td>
+</tr>
+<tr>
+<td class="item">59.</td>
+<td><p>A poultry house in Sichumovi resembling an oven</p></td>
+<td class="number">167</td>
+</tr>
+<tr>
+<td class="item">60.</td>
+<td><p>Ground-plan of an excavated room in Kin-tiel</p></td>
+<td class="number">168</td>
+</tr>
+<tr>
+<td class="item">61.</td>
+<td><p>A corner chimney-hood with two supporting poles, Tusayan</p></td>
+<td class="number">170</td>
+</tr>
+<tr>
+<td class="item">62.</td>
+<td>A curved chimney-hood of Mashongnavi</td>
+<td class="number">170</td>
+</tr>
+<tr>
+<td class="item">63.</td>
+<td><p>A Mashongnavi chimney-hood and walled-up fireplace</p></td>
+<td class="number">171</td>
+</tr>
+<tr>
+<td class="item">64.</td>
+<td>A chimney-hood of Shupaulovi</td>
+<td class="number">172</td>
+</tr>
+<tr>
+<td class="item">65.</td>
+<td><p>A semi-detached square chimney-hood of Zuñi</p></td>
+<td class="number">172</td>
+</tr>
+<tr>
+<td class="item">66.</td>
+<td><p>Unplastered Zuñi chimney-hoods, illustrating
+construction</p></td>
+<td class="number">173</td>
+</tr>
+<tr>
+<td class="item">67.</td>
+<td>A fireplace and mantel in Sichumovi</td>
+<td class="number">174</td>
+</tr>
+<tr>
+<td class="item">68.</td>
+<td>A second-story fireplace in Mashongnavi</td>
+<td class="number">174</td>
+</tr>
+<tr>
+<td class="item">69.</td>
+<td>Piki stone and chimney-hood in Sichumovi</td>
+<td class="number">175</td>
+</tr>
+<tr>
+<td class="item">70.</td>
+<td><p>Piki stone and primitive andiron in Shumopavi</p></td>
+<td class="number">176</td>
+</tr>
+<tr>
+<td class="item">71.</td>
+<td><p>A terrace fireplace and chimney of Shumopavi</p></td>
+<td class="number">177</td>
+</tr>
+<tr>
+<td class="item">72.</td>
+<td><p>A terrace cooking-pit and chimney of Walpi</p></td>
+<td class="number">177</td>
+</tr>
+<tr>
+<td class="item">73.</td>
+<td><p>A ground cooking-pit of Shumopavi covered with a chimney</p></td>
+<td class="number">178</td>
+</tr>
+<tr>
+<td class="item">74.</td>
+<td>Tusayan chimneys</td>
+<td class="number">179</td>
+</tr>
+<tr>
+<td class="item">75.</td>
+<td>A barred Zuñi door</td>
+<td class="number">183</td>
+</tr>
+<tr>
+<td class="item">76.</td>
+<td>Wooden pivot hinges of a Zuñi door</td>
+<td class="number">184</td>
+</tr>
+
+<tr>
+<td class="item">
+77.</td>
+<td>Paneled wooden doors in Hano</td>
+<td class="number">185</td>
+</tr>
+<tr>
+<td class="item">78.</td>
+<td>Framing of a Zuñi door panel</td>
+<td class="number">186</td>
+</tr>
+<tr>
+<td class="item">79.</td>
+<td>Rude transoms over Tusayan openings</td>
+<td class="number">188</td>
+</tr>
+<tr>
+<td class="item">80.</td>
+<td><p>A large Tusayan doorway, with small transom openings</p></td>
+<td class="number">189</td>
+</tr>
+<tr>
+<td class="item">81.</td>
+<td>A doorway and double transom in Walpi</td>
+<td class="number">189</td>
+</tr>
+<tr>
+<td class="item">82.</td>
+<td><p>An ancient doorway in a Canyon de Chelly cliff ruin</p></td>
+<td class="number">190</td>
+</tr>
+<tr>
+<td class="item">83.</td>
+<td><p>A symmetrical notched doorway in Mashongnavi</p></td>
+<td class="number">190</td>
+</tr>
+<tr>
+<td class="item">84.</td>
+<td>A Tusayan notched doorway</td>
+<td class="number">191</td>
+</tr>
+<tr>
+<td class="item">85.</td>
+<td><p>A large Tusayan doorway with one notched jamb</p></td>
+<td class="number">192</td>
+</tr>
+<tr>
+<td class="item">86.</td>
+<td><p>An ancient circular doorway, or “stone-close,” in
+Kin-tiel</p></td>
+<td class="number">193</td>
+</tr>
+<tr>
+<td class="item">87.</td>
+<td><p>Diagram illustrating symmetrical arrangement of small openings in
+Pueblo Bonito</p></td>
+<td class="number">195</td>
+</tr>
+<tr>
+<td class="item">88.</td>
+<td><p>Incised decoration on a rude window-sash in Zuñi</p></td>
+<td class="number">196</td>
+</tr>
+<tr>
+<td class="item">89.</td>
+<td><p>Sloping selenite window at base of Zuñi wall on upper
+terrace</p></td>
+<td class="number">197</td>
+</tr>
+<tr>
+<td class="item">90.</td>
+<td>A Zuñi window glazed with selenite</td>
+<td class="number">197</td>
+</tr>
+<tr>
+<td class="item">91.</td>
+<td><p>Small openings in the back wall of a Zuñi house cluster.</p></td>
+<td class="number">198</td>
+</tr>
+<tr>
+<td class="item">92.</td>
+<td>Sealed openings in Tusayan</td>
+<td class="number">199</td>
+</tr>
+<tr>
+<td class="item">93.</td>
+<td>A Zuñi doorway converted into a window</td>
+<td class="number">201</td>
+</tr>
+<tr>
+<td class="item">94.</td>
+<td>Zuñi roof-openings</td>
+<td class="number">202</td>
+</tr>
+<tr>
+<td class="item">95.</td>
+<td>A Zuñi roof-opening with raised coping</td>
+<td class="number">203</td>
+</tr>
+<tr>
+<td class="item">96.</td>
+<td>Zuñi roof-openings with one raised end</td>
+<td class="number">203</td>
+</tr>
+<tr>
+<td class="item">97.</td>
+<td>A Zuñi roof-hole with cover</td>
+<td class="number">204</td>
+</tr>
+<tr>
+<td class="item">98.</td>
+<td>Kiva trap-door in Zuñi</td>
+<td class="number">205</td>
+</tr>
+<tr>
+<td class="item">99.</td>
+<td><p>Halved and pinned trap-door frame of a Zuñi kiva</p></td>
+<td class="number">206</td>
+</tr>
+<tr>
+<td class="item">100.</td>
+<td><p>Typical sections of Zuñi oblique openings</p></td>
+<td class="number">208</td>
+</tr>
+<tr>
+<td class="item">101.</td>
+<td><p>Arrangement of mealing stones in a Tusayan house</p></td>
+<td class="number">209</td>
+</tr>
+<tr>
+<td class="item">102.</td>
+<td>A Tusayan grain bin</td>
+<td class="number">210</td>
+</tr>
+<tr>
+<td class="item">103.</td>
+<td>A Zuñi plume-box</td>
+<td class="number">210</td>
+</tr>
+<tr>
+<td class="item">104.</td>
+<td>A Zuñi plume-box</td>
+<td class="number">210</td>
+</tr>
+<tr>
+<td class="item">105.</td>
+<td>A Tusayan mealing trough</td>
+<td class="number">211</td>
+</tr>
+<tr>
+<td class="item">106.</td>
+<td>An ancient pueblo form of metate</td>
+<td class="number">211</td>
+</tr>
+<tr>
+<td class="item">107.</td>
+<td>Zuñi stools</td>
+<td class="number">213</td>
+</tr>
+<tr>
+<td class="item">108.</td>
+<td>A Zuñi chair</td>
+<td class="number">213</td>
+</tr>
+<tr>
+<td class="item">109.</td>
+<td>Construction of a Zuñi corral</td>
+<td class="number">215</td>
+</tr>
+<tr>
+<td class="item">110.</td>
+<td>Gardens of Zuñi</td>
+<td class="number">216</td>
+</tr>
+<tr>
+<td class="item">111.</td>
+<td>“Kishoni,” or uncovered shade, of Tusayan</td>
+<td class="number">218</td>
+</tr>
+<tr>
+<td class="item">112.</td>
+<td>A Tusayan field shelter, from southwest</td>
+<td class="number">219</td>
+</tr>
+<tr>
+<td class="item">113.</td>
+<td>A Tusayan field shelter, from northeast</td>
+<td class="number">219</td>
+</tr>
+<tr>
+<td class="item">114.</td>
+<td><p>Diagram showing ideal section of terraces, with Tusayan
+names</p></td>
+<td class="number">223</td>
+</tr>
+<tr>
+<td class="item">115.</td>
+<td><p>Exterior lodge</p></td>
+<td class="number">236</td>
+</tr>
+<tr>
+<td class="item">116.</td>
+<td><p>Interior lodge</p></td>
+<td class="number">237</td>
+</tr>
+<tr>
+<td class="item">117.</td>
+<td><p>Gaming ring</p></td>
+<td class="number">238</td>
+</tr>
+<tr>
+<td class="item">118.</td>
+<td><p>Sweat house</p></td>
+<td class="number">240</td>
+</tr>
+</table>
+
+<hr class="mid" />
+
+<h3>REPORT OF THE DIRECTOR.</h3>
+
+<hr class="mid" />
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<h4 class="extended"><a name="intro_letter" id="intro_letter">
+LETTER OF TRANSMITTAL.</a></h4>
+
+<hr class="tiny" />
+
+<p class="right">
+<span class="rightpad2 smallcaps">Smithsonian Institution,</span><br/>
+<span class="rightpad smallcaps">Bureau of Ethnology,</span><br/>
+<i>Washington, D.C., October 1, 1887.</i></p>
+
+<p><span class="smallcaps">Sir</span>: I have the honor to submit my
+Eighth Annual Report as Director of the Bureau of Ethnology.</p>
+
+<p>The first part presents an explanation of the plan and operations of
+the Bureau; the second consists of a series of papers on anthropologic
+subjects, prepared by my assistants to illustrate the methods and
+results of the work of the Bureau.</p>
+
+<p>I desire to express my thanks for your earnest support and your wise
+counsel relating to the work under my charge.</p>
+
+<p>I am, with respect, your obedient servant,</p>
+
+<p class="illustration rightside">
+<img src="images/intro_powellsig.gif" width="197" height="61"
+alt="J. W. Powell signature" title="J. W. Powell" />
+</p>
+
+<p>Prof. <span class="smallcaps">S. P. Langley</span>,<br/>
+<span class="leftpad"><i>Secretary of the Smithsonian
+Institution.</i></span></p>
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<hr class="mid" />
+
+<h4>EIGHTH ANNUAL REPORT</h4>
+
+<h6>OF THE</h6>
+
+<h3>BUREAU OF ETHNOLOGY.</h3>
+
+<hr class="tiny" />
+
+<h5 class="smallcaps">By J. W. Powell, Director.</h5>
+
+<hr class="tiny" />
+
+<div class="report">
+
+<h4><a name="intro_intro" id="intro_intro">
+INTRODUCTION.</a></h4>
+
+<p>The prosecution of research among the North American Indians, as
+directed by act of Congress, was continued during the fiscal year
+1886-’87.</p>
+
+<p>The general plan upon which the work has been prosecuted has been
+explained in former reports and has not been changed. After certain
+lines of investigation had been decided upon, they were confided to
+persons trained in their pursuit, with the intention that the results of
+their labors, when completed or well advanced, should be presented from
+time to time in the publications of the Bureau provided for by law.
+A&nbsp;brief statement of the work upon which each one of the special
+students was actively engaged during the fiscal year is furnished below,
+but this statement does not embrace all the studies undertaken or
+services rendered by them, since particular lines of research have been
+suspended in this, as in former years, in order to prosecute unto
+substantial completeness work regarded as of paramount importance. From
+this cause delays have been occasioned in the completion of several
+treatises and monographs, already partly in type, which otherwise would
+have been published.</p>
+
+<p>Invitation is renewed for the assistance of explorers, writers, and
+students who are not and may not desire to be officially connected with
+the Bureau. Their contributions, whether in
+<a name="pageXVIII" id="pageXVIII"> </a>
+the shape of suggestions or of extended communications, will be
+gratefully acknowledged, and will always receive proper credit if
+published either in the series of reports or in monographs or bulletins,
+as the liberality of Congress may in future allow.</p>
+
+<p>The items now reported upon are presented in three principal
+divisions. The first relates to the publication made; the second, to the
+work prosecuted in the field; and the third, to the office work, which
+largely consists of the preparation for publication of the results of
+field work, with the corrections and additions obtained from the
+literature relating to the subjects discussed and by correspondence.</p>
+
+
+<h5><a name="intro_pub" id="intro_pub">
+PUBLICATION.</a></h5>
+
+<p>The only publication actually issued during the year was the Fourth
+Animal Report of the Bureau of Ethnology to the Smithsonian Institution,
+1882-’83. It is an imperial octavo volume of lxiii + 532 pages,
+illustrated by 83 plates, of which 11 are colored, and 564 figures in
+the text. The official report of the Director, occupying 39 pages (pp.
+xxv-lxiii), is accompanied by the following papers:</p>
+
+<p>Pictographs of the North American Indians, a&nbsp;preliminary paper,
+by Garrick Mallery; pp. 3-256, Pls. I-LXXXIII, Figs. 1-209.</p>
+
+<p>Pottery of the Ancient Pueblos, by William H. Holmes; pp. 257-360,
+Figs. 210-360.</p>
+
+<p>Ancient Pottery of the Mississippi Valley, by William H. Holmes; pp.
+361-436, Figs. 361-463.</p>
+
+<p>Origin and Development of Form and Ornament in Ceramic Art, by
+William H. Holmes; pp. 437-465, Figs. 464-489.</p>
+
+<p>A Study of Pueblo Pottery, as illustrative of Zuñi culture growth, by
+Frank Hamilton Cushing; pp. 467-521, Figs. 490-564.</p>
+
+
+<h5><a name="intro_field" id="intro_field">
+FIELD WORK.</a></h5>
+
+<p>The field work of the year is divided into (1)&nbsp;mound
+explorations and (2)&nbsp;general field studies, embracing those
+relating to social customs, institutions, linguistics, pictography, and
+other divisions of anthropology.</p>
+
+<h6>
+<a name="pageXIX" id="pageXIX"> </a>
+<a name="intro_field_mound" id="intro_field_mound">
+MOUND EXPLORATIONS.</a></h6>
+
+<h6><a name="intro_field_mound_thomas" id="intro_field_mound_thomas">
+WORK OF PROF. CYRUS THOMAS.</a></h6>
+
+<p>The work of exploring the mounds of the eastern United States was, as
+in previous years, under the charge of Prof. Cyrus Thomas.</p>
+
+<p>Although Prof. Thomas and his assistants have devoted a large portion
+of the year to the study of the collections made in the division of
+mound exploration and to the preparation of a report of its operations
+for the last five years, yet some field work of importance has been
+done.</p>
+
+<p>Prof. Thomas in person examined the more important ancient works of
+New York and Ohio. He gave special attention to the latter, with a view
+of determining where new and more accurate descriptions, surveys, and
+illustrations were necessary. It was found requisite to undertake a
+careful resurvey and description of a number of the well known works in
+Ohio. This reexamination was the more necessary in view of the light
+shed on the origin and use of these monuments by the explorations which
+had been carried on in West Virginia, western North Carolina, and
+eastern Tennessee.</p>
+
+<p>Mr. J. P. Rogan continued his work as assistant until the close of
+November, when he voluntarily resigned his position to enter upon other
+engagements. A&nbsp;portion of his time during the first month was
+occupied in arranging and preparing for shipment the collection
+purchased of Mrs. McGlashan, in Savannah, Georgia. The rest of his time
+was employed in exploring mounds along the upper Savannah River in
+Georgia and South Carolina and along the lower Yazoo River in
+Mississippi.</p>
+
+<p>Mr. J. W. Emmert continued to act as field assistant until the end of
+February, when the field work closed. His labors, with the exception of
+a short visit to central New York, were confined to eastern Tennessee,
+chiefly Blount, Monroe, and Loudon counties, where numerous extensive
+and very interesting groups are found in the section formerly occupied
+by the Cherokees. Prof. Thomas thought it necessary to devote
+considerable attention to the ancient works of that region, as it is
+<a name="pageXX" id="pageXX"> </a>
+probable that there and in western North Carolina is to be found the key
+that will materially assist in solving the problem of the peculiar works
+of Ohio. The results of these explorations are of unusual interest,
+independent of their supposed bearing on the Ohio mounds.</p>
+
+<p>Mr. James D. Middleton, who has been a constant assistant in the
+division since its organization, after completing some investigations
+begun in southern Illinois, visited western Kentucky for the purpose of
+investigating the works of that section, but was soon afterwards called
+to Washington to take part in the office work. During the month of June
+he visited and made a thorough survey of the extensive group of works
+near Charleston, West Virginia, of which Colonel Norris had made a
+partial exploration, the latter having been prevented from completing it
+by the sickness which immediately preceded his death. During the same
+month Mr. Middleton commenced the survey of the Ohio works before
+alluded to, obtaining some valuable results in the short time before the
+close of the year.</p>
+
+<p>Mr. Gerard Fowke was also engaged for a short time in field work in
+western Pennsylvania, Ohio, and Kentucky, but was called early in autumn
+to Washington to assist in office work.</p>
+
+
+<h6><a name="intro_field_general" id="intro_field_general">
+GENERAL FIELD STUDIES.</a></h6>
+
+<h6><a name="intro_field_general_gatschet" id="intro_field_general_gatschet">
+WORK OF MR. A. S. GATSCHET.</a></h6>
+
+<p>During October and December Mr. Albert S. Gatschet was engaged in
+gathering historic and linguistic data in Louisiana, Texas, and the
+portion of Mexico adjoining the Rio Grande, which region contains the
+remnants of a number of tribes whose language and linguistic affinity
+are practically unknown. After a long search Mr. Gatschet found a small
+settlement of Biloxi Indians at Indian Creek, five or six miles west of
+Lecompte, Rapides Parish, Louisiana, where they gain a livelihood as day
+laborers. Most of them speak English more than their native tongue; in
+fact, about two-thirds of the thirty-two survivors speak English only.
+The vocabulary obtained by him discloses the interesting fact that the
+Biloxi belong to the Siouan linguistic family.</p>
+
+<p>
+<a name="pageXXI" id="pageXXI"> </a>
+He heard of about twenty-five of the Tunika tribe still living in
+their old homes on the Marksville Prairie, Avoyelles Parish, Louisiana.
+An excellent vocabulary was obtained of their language at Lecompte,
+Louisiana, and a careful comparison of this with other Indian languages
+shows that the Tunika is related to none, but represents a distinct
+linguistic family. He was unable to collect any information in regard to
+the Karankawa tribe, concerning which little is known except that they
+lived upon the Texan coast near Lavaca Bay.</p>
+
+<p>Leaving Laredo County, Texas, he visited Camargo, in Tamaulipas,
+Mexico, finding near San Miguel the remnants of the Comecrudo tribe, or,
+as they are called by the whites, Carrizos. Only the older men and women
+still remember their language. The full-blood Comecrudos seen were tall
+and thin, some of them with fairer complexions than the Mexicans.
+Subsequently the Cotoname language, formerly spoken in the same
+district, was studied and found to be a distinctly related dialect of
+Comecrudo. Both of them belong to the Coahuiltecan family. From the
+Comecrudo Mr. Gatschet obtained the names of a number of extinct tribes
+which formerly lived in their vicinity, but of which no representatives
+are left. These are the Casas Chiquitas, Tejones (or&nbsp;“Raccoons”),
+Pintos or Pakawas, Miakkan, and Cartujanos. He next visited the
+Tlaskaltec Indians, who live in the city of Saltillo. Of these Indians
+about two hundred still speak their own language, which is almost
+identical with the Aztec, although largely mixed with Spanish.</p>
+
+
+<h6><a name="intro_field_general_curtin" id="intro_field_general_curtin">
+WORK OF MR. JEREMIAH CURTIN.</a></h6>
+
+<p>Mr. Jeremiah Curtin was engaged from the middle of March to
+June&nbsp;1 in completing investigations begun the previous year into
+the history, myths, and language of the Iroquois Indians at Versailles,
+Cattaraugus County, New York. The material obtained by him is of great
+interest and value.</p>
+
+
+<h6><a name="intro_field_general_hoffman" id="intro_field_general_hoffman">
+WORK OF DR. W. J. HOFFMAN.</a></h6>
+
+<p>Dr. W. J. Hoffman proceeded early in August to Paint Rock, North
+Carolina, to secure sketches of pictographs upon the canyon walls of the
+French Broad River near that place.
+<a name="pageXXII" id="pageXXII"> </a>
+Owing to disintegration of the sandstone rocks, the painted outlines of
+animals and other figures are becoming slowly obliterated, though
+sufficient remained to show their similarity to others in various
+portions of the region which it is believed was occupied by the Cherokee
+Indians. Similar outlines were reported to have been formerly visible on
+the same river, as well as on the Tennessee, near Knoxville, Tennessee,
+though no traces of them were found.</p>
+
+<p>The next place visited was a few miles distant from and northwest of
+Liberty, Tazewell County, Virginia, where some painted characters still
+remain in a good state of preservation. They are on the sandstone cliffs
+near the summit of the mountains and consist of human figures, birds,
+and other forms, appearing to resemble artistically those of North
+Carolina. Five miles eastward, on the same range, is a single
+diamond-shaped cluster of red and black marks, no other forms being
+visible. This rock is known in the surrounding country as the
+“Handkerchief Rock,” because of its resemblance to an outspread colored
+handkerchief. He then proceeded to Charleston, West Virginia, obtaining
+copies of petroglyphs on Big Horse Creek, 12 miles southwest of that
+place, and at several points along the Kanawha River. It was learned
+that 20 miles south of Charleston, on the reputed trail leading from the
+Kanawha Valley into Kentucky, “painted trees” formerly marked the
+direction of the trails leading into the Cherokee country, and into
+Kentucky. These trees bore various marks in red, but no accurate
+information pertaining to the precise form of the characters could be
+ascertained. At the other points mentioned characters were noticed
+resembling in general those found in other portions of the Eastern and
+Middle States known to have been occupied by tribes of the Algonquian
+linguistic family.</p>
+
+<p>The “Indian God-Rock,” 115 miles north of Pittsburg, Pennsylvania, on
+the Alleghany River, was next examined and sketches were made of the
+figures. This rock is an immense bowlder, the sculptured face of which
+is about 15 feet high and from 8 to 10 feet broad, and lies at the
+water’s edge. The figures upon the lower surface are being gradually
+<a name="pageXXIII" id="pageXXIII"> </a>
+obliterated by erosion from floating logs and driftwood during seasons
+of high water, while those upon the upper portions are being ruined by
+the visitors who cut names and dates over and upon the sculptured
+surfaces. Another place visited was on the Susquehanna River,
+3&nbsp;miles below Columbia, Pennsylvania. Here a small stream empties
+into the river from the east, along whose course several rocks were
+found bearing deeply cut and polished grooves, indicating a nearly east
+and west direction. These rocks are believed to be on the line of one of
+the Indian trails leading to the Delaware River, similar to that at
+Conowingo, Maryland, which was the last locality inspected, and which is
+known as “Bald Friar.” A large mass of rock projecting from the bed of
+the river is almost covered with numerous circles, cup-shaped
+depressions, human forms, and ellipses, strongly resembling characters
+from other points in the regions formerly occupied by the Algonquian
+family. Measurements and sketches of these petroglyphs were made, with a
+view to future reproduction upon models.</p>
+
+
+<h5><a name="intro_office" id="intro_office">
+OFFICE WORK.</a></h5>
+
+<p>The Director, Maj. <a name="intro_office_powell" id="intro_office_powell"><span class="smallcaps">J. W. Powell</span></a>,
+has continued the work of the linguistic classification of the Indian
+tribes in North America north of Mexico, and in connection with it is
+preparing a map upon a linguistic basis showing the original habitat of
+the tribes. The work is now far advanced.</p>
+
+<p>Prof. <a name="intro_office_thomas" id="intro_office_thomas"><span class="smallcaps">Cyrus Thomas</span></a>,
+as previously stated, has devoted much of his time during the year to
+the study of the collections made, and in preparing for publication the
+account of field work performed by himself and assistants. That account
+will form the first volume of his final report, and will consist almost
+wholly of descriptions, plans, and figures of the ancient works
+examined, narrative and speculation being entirely excluded. It will
+also include a paper by Mr. Gerard Fowke on the stone articles of the
+collection. The second volume will be devoted to the geographic
+distribution of the various types of mounds, archeologic maps and
+charts, and a general discussion of the various forms and types of
+ancient works. The preliminary lists of the various monuments known, and
+of the localities
+<a name="pageXXIV" id="pageXXIV"> </a>
+where they are found, together with references to the works and
+periodicals in which they are mentioned, which Mrs. V.&nbsp;L. Thomas,
+in addition to her other duties, has been engaged upon for nearly three
+years, is now completed, and is being used in the preparation of maps.
+It will be issued as a bulletin.</p>
+
+<p>Mr. <a name="intro_office_fowke" id="intro_office_fowke"><span
+class="smallcaps">Gerard Fowke</span></a>, in addition to assisting in
+the preparation of the final report on the field work of the mound
+exploration division, has made a study of the stone articles of the
+collection made by&nbsp;it.</p>
+
+<p>Mr. <a name="intro_office_reynolds" id="intro_office_reynolds"><span class="smallcaps">H. L.
+Reynolds</span></a> has made a study of the copper articles collected,
+and has prepared a paper which is nearly completed.</p>
+
+<p>Mr. <a name="intro_office_middleton" id="intro_office_middleton"><span class="smallcaps">J. D.
+Middleton’s</span></a> office work has consisted entirely in the
+preparation of maps, charts, and diagrams. These are of two
+classes&mdash; (1)&nbsp;those made entirely from original surveys, which
+constitute the larger portion, and (2)&nbsp;the archeological maps of
+States and districts, showing the distribution of given types, which are
+made from all the data obtainable, including additions and verifications
+made by the mound exploration division of the Bureau.</p>
+
+<p>Mr. <a name="intro_office_pilling" id="intro_office_pilling"><span class="smallcaps">J. C.
+Pilling</span></a> continued his bibliographic studies during the year,
+with the intention of completing for the press his bibliography of North
+American languages. After consultation with the Director and a number of
+gentlemen well informed on the subject, it was concluded that the wants
+of students in this branch of ethnology would be better subserved if the
+material were issued in separate bibliographies, each devoted to one of
+the great linguistic stocks of North America. The first one selected for
+issue related to the Eskimo, which was prepared during the year, and
+when put in type formed a pamphlet of 116 pages. The experiment proved
+successful, and Mr. Pilling continued the preparation of the separates.
+Late in the fiscal year the manuscript of his bibliography of the Siouan
+family was sent to the Public Printer. It is the intention to continue
+this work by preparing a bibliography of each of the linguistic groups
+as fast as opportunity will permit.</p>
+
+<p>Mr. <a name="intro_office_cushing" id="intro_office_cushing"><span class="smallcaps">Frank H.
+Cushing</span></a> continued work upon his Zuñi material, so far as his
+health permitted, until the middle of December.
+<a name="pageXXV" id="pageXXV"> </a>
+At that time he gave up office work and left for Arizona and New Mexico,
+intending to devote himself for a time to the examination of the ruins
+of that region with the view of obtaining material of collateral
+interest in connection with his Zuñi studies as well as in hope of
+restoring his impaired health.</p>
+
+<p>Mr. <a name="intro_office_royce" id="intro_office_royce"><span
+class="smallcaps">Charles C. Royce</span></a>, although no longer
+officially connected with the Bureau, devoted much time during the year
+to the completion of his work upon the former title of Indian tribes to
+lands within the United States and the methods by which their
+relinquishment had been procured. This work, delayed by Mr. Royce’s
+resignation from the Bureau force, is reported by him as nearly
+completed.</p>
+
+<p>Mr. <a name="intro_office_holmes" id="intro_office_holmes"><span
+class="smallcaps">William H. Holmes</span></a> has continued the
+archeologic work begun in preceding years, utilizing such portions of
+his time as were not absorbed in work pertaining to the U.S. Geological
+Survey. A&nbsp;paper upon the antiquities of Chiriqui and one upon
+textile art in its relation to form and ornament, prepared for the Sixth
+Annual Report, were completed and proofs were read. During the year work
+was begun upon a review of the ceramic art of Mexico. A&nbsp;special
+paper, with twenty illustrations, upon a remarkable group of spurious
+antiquities belonging to that country, was prepared and turned over to
+the Smithsonian Institution for publication. In addition,
+a&nbsp;preliminary study of the prehistoric textile fabrics of Peru was
+begun, and a short paper with numerous illustrations was written. As in
+former years, Mr. Holmes has superintended the preparation of drawings
+and engravings for the Bureau publications. The number of illustrations
+prepared during the year amounted to 650.</p>
+
+<p>He has also general charge of the miscellaneous archeologic and
+ethnologic collections of the Bureau, and reports that Prof. Cyrus
+Thomas, Mr. James Stevenson, and other officers and agents of the Bureau
+have obtained collections of articles from the mounds of the Mississippi
+Valley and from the ruins of the Pueblo country. A&nbsp;number of
+interesting articles have also been acquired by gift. Capt. J.&nbsp;G.
+Bourke, U.S. Army, presented a series of vases and other ceremonial
+objects obtained from cliff dwellings and caves in the Pueblo country;
+Mr. J.&nbsp;B.
+<a name="pageXXVI" id="pageXXVI"> </a>
+Stearns, of Short Hills, N.J., made a few additions to his already
+valuable donations of relics from the ancient graves of Chiriqui,
+Colombia, and Mr. J.&nbsp;N. Macomb presented a number of fragments of
+earthenware from Graham County, North Carolina. Some important
+accessions have been made by purchase. A&nbsp;large collection of
+pottery, textile fabrics, and other articles from the graves of Peru was
+obtained from Mr. William E. Curtis; a&nbsp;series of ancient and modern
+vessels of clay and numerous articles of other classes from Chihuahua,
+Mexico, were acquired through the agency of Dr. E. Palmer; a&nbsp;small
+set of handsome vases of the ancient white ware of New Mexico was
+acquired by purchase from Mr. C.&nbsp;M. Landon, of Lawrence, Kansas,
+and several handsome vases from various parts of Mexico were obtained
+from Dr. Eugene Boban.</p>
+
+<p>Mr. <a name="intro_office_mindeleffv" id="intro_office_mindeleffv"><span class="smallcaps">Victor
+Mindeleff</span></a> was engraved during the fiscal year in the
+preparation of a report on the architecture of the Tusayan and Cibola
+groups of pueblos, which appears in the present volume. This report
+contains a description of the topography and climate of the region, in
+illustration of the influence of environment upon the development of the
+pueblo type of architecture. It also contains a traditionary account of
+the Tusayan pueblos and of their separate clans or phratries.
+A&nbsp;description in detail of the Tusayan group treats of the relative
+position of the villages and such ruins as are connected traditionally
+or historically with them. A&nbsp;comparative study is also made between
+the Tusayan and Cibola groups and between them and certain well
+preserved ruins in regard to constructive details, by which means the
+comparatively advanced type of the modern pueblo architecture is clearly
+established. Maps of the groups discussed and of the topography of the
+country and ground plans of houses and apartments were prepared to
+illustrate the report and give effect to the descriptions and
+discussion.</p>
+
+<p>Mr. <a name="intro_office_mindeleffc" id="intro_office_mindeleffc"><span class="smallcaps">Cosmos
+Mindeleff</span></a> devoted the early part of the fiscal year to the
+preparation of a report upon the exhibits of the Bureau of Ethnology and
+the Geological Survey at the Cincinnati Industrial Exposition, 1884; the
+Southern Exposition at Louisville, 1884; and the Industrial and Cotton
+Centennial
+<a name="pageXXVII" id="pageXXVII"> </a>
+Exposition at New Orleans, 1884-’85. The report includes a descriptive
+catalogue of the various exhibits. As these consisted largely of models,
+and as the locality or object represented by each model was described in
+detail, the report was lengthy. It was finished in October and
+transmitted to the Commissioner representing the Department of the
+Interior. During the remainder of the year the portion of time which Mr.
+Cosmos Mindeleff was able to devote to office work was employed in
+assisting Mr. Victor Mindeleff in the preparation of a preliminary
+report on the architecture of Zuñi and Tusayan. The portion assigned to
+him consists of an introductory chapter devoted to the traditionary
+history of Tusayan, arranged from material collected by Mr. A.&nbsp;M.
+Stephen, of Keam’s Canyon, Arizona.</p>
+
+<p>The modeling room has remained in charge of Mr. Cosmos Mindeleff. The
+preparation of a duplicate series of the models made in the last few
+years and now deposited in the National Museum was continued,
+a&nbsp;large portion of the time being given to that work. During the
+year the following models were added to this series: (1)&nbsp;model of
+Shumopavi, Tusayan, Arizona; (2)&nbsp;model of Etowah mound, Georgia;
+(3)&nbsp;models of Mashongnavi; (4)&nbsp;model of Zuñi; (5)&nbsp;model
+of Peñasco Blanco; (6)&nbsp;models of Etruscan graves, being a series to
+illustrate ancient Etruscan graves, from material furnished by Mr.
+Thomas Wilson.</p>
+
+<p>Mr. <a name="intro_office_nelson" id="intro_office_nelson"><span
+class="smallcaps">E. W. Nelson</span></a>, during 1886, and
+continuously to the end of the fiscal year, has devoted much time to
+preparing a report upon the Eskimo of northern Alaska, for which his
+note books and large collections obtained in that region furnish ample
+material. During 1886 the vocabularies, taken from twelve Eskimo
+dialects for use in Arctic Alaska, were arranged in the form of an
+English-Eskimo and Eskimo-English dictionary. These dictionaries, with
+notes upon the alphabet and grammar, will form one part of his report.
+The other part will consist of chapters upon various phases of Eskimo
+life and customs in Alaska, and will be illustrated by photographs taken
+by him on the spot and by specimens collected during his extended
+journeys in that region. His notes upon Eskimo legends, festivals, and
+other customs will form an important contribution.</p>
+
+<p>
+<a name="pageXXVIII" id="pageXXVIII"> </a>
+Mr. <a name="intro_office_turner" id="intro_office_turner"><span
+class="smallcaps">Lucien M. Turner</span></a> is also engaged in the
+preparation of a similar report upon the Eskimo, in the form of a
+descriptive catalogue of the large amount of material collected by him
+during a residence of several years at St. Michaels and in the Aleutian
+Islands. When these two reports shall be completed the amount of
+accurate information concerning the remarkable people to whom they
+relate will be materially increased.</p>
+
+<p>Mr. <a name="intro_office_henshaw" id="intro_office_henshaw"><span class="smallcaps">Henry W.
+Henshaw</span></a> has continued in charge of the work upon the synonymy
+of the Indian tribes of the United States, which was alluded to in some
+detail in the annual report of last year. This work has been temporarily
+suspended, and Mr. Henshaw has assisted the Director in the preparation
+of a linguistic map of the region north of Mexico and in the
+classification of the Indian tribes, a&nbsp;work which properly precedes
+and forms the basis of the volume on synonymy.</p>
+
+<p>Col. <a name="intro_office_mallery" id="intro_office_mallery"><span class="smallcaps">Garrick
+Mallery</span></a> was steadily occupied during the year in the work of
+the synonymy of the Indian tribes, his special field being the Iroquoian
+and Algonquian linguistic stocks, and his particular responsibility
+being the careful study of all the literature on the subject in the
+French language. He also, when time allowed, continued researches in and
+correspondence concerning sign language and pictographs.</p>
+
+<p>Mr. <a name="intro_office_mooney" id="intro_office_mooney"><span
+class="smallcaps">James Mooney</span></a> has been occupied during the
+entire year, in conjunction with Col. Mallery, in that portion of the
+work of the Indian synonymy relating to the Algonquian and Iroquoian
+families.</p>
+
+<p>Mr. <a name="intro_office_hewitt" id="intro_office_hewitt"><span
+class="smallcaps">John N. B. Hewitt</span></a> has continued the
+linguistic work left unfinished by Mrs. Erminnie A. Smith. During the
+year he has been engaged in recording, translating, and tracing the
+derivation of Tuscarora words for a Tuscarora-English dictionary. He has
+thus far recorded about 8,000 words.</p>
+
+<p>Mr. <a name="intro_office_gatschet" id="intro_office_gatschet"><span class="smallcaps">Albert S.
+Gatschet</span></a> has devoted almost the entire year to the synonymy
+of Indian tribes, and has practically completed the section assigned to
+him, viz, the tribes of the southeastern United States.</p>
+
+<p>Mr. <a name="intro_office_dorsey" id="intro_office_dorsey"><span
+class="smallcaps">J. Owen Dorsey</span></a> continued his labors on
+the Indian synonymy cards of the Siouan, Caddoan, Athapascan, Kusan,
+<a name="pageXXIX" id="pageXXIX"> </a>
+Yakonan, and Takilman linguistic stocks. He resumed his preparation of
+the dictionary cards for contributions to North American Ethnology, Vol.
+VI, Part II, and in connection therewith found it necessary to elaborate
+his additional ¢egiha texts, consisting of more than two hundred and
+fifty epistles, besides ten or more myths gained since 1880. This work
+was Interrupted in March, 1887, when he was obliged to undertake the
+arrangement of a new collection of Teton texts for publication. Mr.
+George Bushotter, a&nbsp;Dakota Indian, who speaks the Teton dialect,
+was employed by the Director from March 23, for the purpose of recording
+for future use of the Bureau some of the Teton myths and legends in the
+original. One hundred of these texts were thus written, and it devolved
+on Mr. Dorsey to prepare the interlinear translations of the texts,
+critical and explanatory notes, and other necessary linguistic material,
+as dictated by Mr. Bushotter. Besides writing the texts in the Teton
+dialects, Mr. Bushotter has been able to furnish numerous sketches as
+illustrations, all of which have been drawn and colored according to
+Indian ideas. His collection of sketches is the most extensive that has
+been gained from among the tribes of the Siouan family, and it is the
+first one contributed by an Indian.</p>
+
+<p>Dr. <a name="intro_office_hoffman" id="intro_office_hoffman"><span class="smallcaps">Walter J.
+Hoffman</span></a> and Mr. <a name="intro_office_curtin" id="intro_office_curtin"><span class="smallcaps">Jeremiah
+Curtin</span></a>, when not in the field as above mentioned, have
+continued to assist in the work of the synonymy of the Indian
+tribes.</p>
+
+
+<h5><a name="intro_accom" id="intro_accom">
+ACCOMPANYING PAPERS.</a></h5>
+
+<p>The papers contained in the present volume relate to the Pueblo and
+Navajo Indians, who occupy a large territory in the interior
+southwestern parts of the United States. The prehistoric archeology of
+the Pueblos in the special department of architecture is the most
+prominent single subject presented and discussed, but the papers also
+include studies of the history, mythology, and sociology of that people,
+as well as of their neighbors and hereditary enemies the Navajo. All of
+these correlated studies are set forth with detail and illustration.</p>
+
+<h6><a name="pageXXX" id="pageXXX"> </a>
+<a name="intro_accom_pueblo" id="intro_accom_pueblo">
+A STUDY OF PUEBLO ARCHITECTURE, TUSAYAN AND CIBOLA, BY&nbsp;VICTOR
+MINDELEFF.</a></h6>
+
+<p>This study relates to the ruins and inhabited towns found in that
+immense southwestern region composed of the arid plateaus which is
+approximately bounded on the east by the Rio Pecos and the west by the
+Colorado River, on the north by Central Utah, and which extends
+southward to yet undetermined limits in Mexico. The present paper is
+more directly confined to the ancient provinces of Tusayan and Cibola
+which are situated within the drainage of the Little Colorado River, and
+the intention is to follow and supplement it by studies of other typical
+groups in the region, but the necessary comparisons and generalizations
+now presented apply to all the varied features which are observed in the
+remains of Pueblo architecture now scattered over thousands of square
+miles. The work of surveying and platting in this vast field, together
+with the consequent coordination of studies and preparation of
+illustrations, has occupied the author and Mr. Cosmos Mindeleff a large
+amount of time since the year 1881, though it did not include all of
+their duties performed during that period.</p>
+
+<p>The title of the paper, which only indicates architecture, fails to
+do justice to the broad and suggestive treatment of the subject. It
+would be expected, indeed required, that the surveys should be accurate
+in details and that the physical features of the region should be
+exhaustively described, but while all this is well done, much more
+matter of a different though related class, and of great value to
+ethnology, is furnished. The history, prehistoric and recent, the
+religion, the sociology and the arts of the people, with their home life
+and folklore, are studied and discussed in a manner which would be
+creditable in essays devoted to those special subjects, but are so
+employed as to be thoroughly appropriate to the elucidation of the
+general theme.</p>
+
+<p>The chapter on the traditional history of Tusayan, which is the
+individual compilation of Mr. Cosmos Mindeleff, is an important and
+interesting contribution relative to the history, migrations, and
+mythology of the people. The traditions are, however, used with proper
+caution, the fact being recognized that they seldom contain distinct
+information, but are often of
+high value from their incidental allusions and in their preservation of
+the conditions of the past which influenced the lines and limitations of
+their growth.</p>
+
+<p>The classification and account of the Pueblo phratries and gentes
+form an important contribution to anthropology, and the discussion upon
+the origin and use of the kivas is more explanatory and exhaustive than
+any before made on that subject. This word of the Tusayan language is
+adopted to take the place of the Spanish term “estufa,” which literally
+means a stove, and is misleading, because it strictly applies only to
+the sweat houses which lodge-building Indians use. The kiva is the
+ceremonial chamber of the ancient and modern Pueblo peoples. They are
+found wherever the remains of Pueblo architecture occur, and are
+distinguished from the typical dwelling rooms by their size and position
+and generally by their form. The author dwells instructively upon the
+antiquity, excavation, access, exterior masonry, orientation, and
+general construction, furniture, and ornaments of these remarkable
+chambers, and upon the rites connected with them. He also gives an
+original and acute suggestion to account for the persistence of the
+structural plan of the kivas by its religious or mythologic
+signification.</p>
+
+<p>The designation of the curious orifice of the sipapuh as “the place
+from which the people emerged,” in connection with the peculiar
+arrangement of the kiva interior with its change of floor level,
+suggested to Mr. Mindeleff that these features might be regarded as
+typifying the four worlds of the genesis myth that has exercised such an
+influence on Tusayan customs. He was also led to infer that it typifies
+the “four houses” or stages described in their creation myths. The
+sipapuh, with its cavity beneath the floor, is certainly regarded as
+indicating the place of beginning, the lowest house under the earth, the
+abode of Myuingwa, the Creator; the main or lower floor represents the
+second stage; and the elevated section of the floor is made to denote
+the third stage, where animals were created. At the New Year festivals
+animal fetiches were set in groups upon this platform. It is also to be
+noted that the ladder to the surface is invariably made of pine, and
+always rests upon the platform, never upon the lower floor, and in
+their traditional genesis it is stated that the people climbed up from
+the third house (stage) by a ladder of pine, and through such an opening
+as the kiva hatchway. The outer air is the fourth world, or that now
+occupied.</p>
+
+<p>Another apt observation is connected with the evolution of ornament,
+and was prompted to the author by the common use of small chinking
+stones for bringing the masonry to an even face after the larger stones
+forming the body of the wall had been laid in place. This method of
+construction in the case of some of the best built ancient pueblos
+resulted in the production of marvelously finished stone walls, in which
+the mosaic-like bits are so closely laid as to show none but the finest
+joints on the face of the wall, with but little trace of mortar. The
+chinking wedges necessarily varied greatly in dimensions to suit the
+sizes of the interstices between the larger stones of the wall. The use
+of stone in this manner probably suggested the banded walls that form a
+striking feature in some of the Chaco houses. In connection with these
+walls the seams of stone of two degrees of thickness, which are
+observable in the cliffs, naturally suggested to the builders their
+imitation by the use of stones of similar thickness in continuous bands.
+The ornamental effect of this device was originally an accidental result
+of adopting the most convenient method of using the material at
+hand.</p>
+
+<p>The author exhibits the result of thoughtful study in his expressed
+views upon the mooted questions of racial origins and diffusions. He
+noted that some of the ruins connected traditionally and historically
+with Tusayan and Cibola differ in no particular from those stone pueblos
+widely scattered over the southwestern plateaus which from time to time
+have been invested by travelers and writers with a halo of romance and
+regarded as the wondrous achievements in civilization of a vanished but
+once powerful race. These abandoned stone houses found in the midst of
+desert solitudes excited the imaginations of early explorers to connect
+the remains with “Aztecs” and other mysterious peoples. From this early
+implanted bias arose many ingenious theories concerning the origin and
+disappearance of the builders of the ancient pueblos.</p>
+
+<p>In connection with the architectural examination of some of
+these remains many traditions were obtained from the living members of
+the tribes, several of which are published in the present paper, and
+which clearly indicate that some of the village ruins and cliff
+dwellings have been built and occupied by ancestors of the present
+Pueblo Indians at a date well within the historic period. Both
+architectural and traditional evidence are in accord in establishing a
+continuity of descent from the ancient Pueblos to those of the present
+day. Many of the communities are now made up of the more or less
+scattered but interrelated remnants of gentes which in former times
+occupied villages on the present or neighboring sites.</p>
+
+<p>Mr. Mindeleff’s conclusions may be condensed as follows:</p>
+
+<p>The general outlines of the development of architecture, wherein the
+ancient builders were stimulated to the best use of the exceptional
+materials about them both by the difficult conditions of their
+semidesert environment and by constant necessity for protection against
+their neighbors, can be traced in its various stages of growth from the
+primitive conical lodge to its culmination in the large communal village
+of many-storied terraced buildings which were in use at the time of the
+Spanish discovery, and which still survive in Zuñi. Yet the various
+steps have resulted from a simple and direct use of the material
+immediately at hand, while methods gradually improved as frequent
+experiments taught the builders to utilize more fully the local
+facilities. In all cases the material was derived from the nearest
+available source, and often variations in the quality of the finished
+work are due to variations in the quality of the stone near by. The
+results accomplished attest the patient and persistent industry of the
+ancient builders, but the work does not display great skill in the
+construction or the preparation of material.</p>
+
+<p>The same desert environment that furnished an abundance of material
+for the ancient builders, from its inhospitable character and the
+constant variations in the water supply, also compelled the frequent use
+of this material in the change of house and village sites. This was an
+important factor in bringing about the degree of advancement attained in
+the art of building. The distinguishing characteristics of Pueblo
+architecture may therefore be regarded as the product of a defensive
+<a name="pageXXXIV" id="pageXXXIV"> </a>
+motive and of an arid environment that furnished an abundance of
+suitable building material, and at the same time the climatic conditions
+that compelled its frequent employment.</p>
+
+<p>The cultural distinctions once drawn by writers between the Pueblo
+Indians and neighboring tribes gradually become less clearly defined as
+they have been intelligently studied. An understanding of their social
+and religious system establishes the essential identity in their grade
+of culture with that of other tribes. In many of the arts, too, such as
+weaving and ceramics, these people in no degree surpass many tribes who
+build ruder dwellings. Though they have progressed far beyond their
+neighbors in architecture, many of the devices employed attest the
+essentially primitive character of their art, and demonstrate that the
+apparent distinction in grade of culture is mainly due to the
+exceptional condition of their environment.</p>
+
+<p>This important and timely paper furnishes new evidence taken from one
+of the strongholds of sentimental phantasy to show that there is no need
+for the hypothesis of an extinct race with dense population and high
+civilization to account for the conditions actually existing in North
+America before the European discovery.</p>
+
+
+<h6><a name="intro_accom_cerem" id="intro_accom_cerem">
+CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING OF THE NAVAJO
+INDIANS, BY JAMES STEVENSON.</a></h6>
+
+<p>This paper, apart from its intrinsic merits, has a peculiar interest
+to American anthropologists from its being the last official work of Mr.
+Stevenson, whose untimely death on July 25, 1888, was noticed in a
+former report. It shows his personal characteristics, being a clear and
+accurate statement of the facts actually observed and of the information
+acquired by him at first hand, without diffuseness or unnecessary
+theorizing.</p>
+
+<p>Hasjelti Dailjis, in the Navajo tongue, signifies the dance of
+Hasjelti, who is the chief or rather the most important and conspicuous
+of the gods. The word dance does not well designate the ceremonies, as
+they are in general more histrionic than saltatory. The whole of the
+ceremonial, which lasts for nine days, is familiarly called among the
+tribe “Yebitchai,” which means “the giant’s uncle,” this term being used
+to awe the youthful candidates for initiation.</p>
+
+<p>
+The ceremony witnessed by Mr. Stevenson was performed to cure a wealthy
+member of the tribe of an inflammation of the eyes. Twelve hundred
+Navajo Indians were present, chiefly as spectators, but that exhibition
+of their interest may partly be accounted for by the fact that they
+lived while on their visit at the expense of the invalid and occupied
+most of the time in gambling and horse racing. The very numerous active
+participants in the ceremonies, who might be called the mystery company,
+in reference to the early form of our drama, were not directly paid for
+their services, but acted because they were the immediate relatives of
+the invalid for whose benefit the performance was given. The tribesman
+who combined the offices of manager, theurgist, song priest, or master
+of ceremonies was paid exorbitantly for his professional services. The
+personation of the various gods and their attendants and the acted drama
+of their mythical adventures and displayed powers exhibit features of
+peculiar interest, while the details of the action day after day show
+all imaginable and generally incomprehensible changes and multiplication
+of costume and motions and postures and manipulations of feathers and
+meal and sticks and paint and water and sand and innumerable other stage
+properties in astounding complexity and seeming confusion. Yet, from
+what is known of isolated and fragmentary parts of the dramatized myths,
+it is to be inferred that every one of the strictly regulated and
+prescribed actions has or has had a special significance, and it is
+obvious that they are all maintained with strict religious scrupulosity,
+indeed with constant dread of fatal consequences which would result from
+the slightest divergence. In connection with this ritualistic form of
+punctilio, which is noticed in the religious practices of other peoples
+and lands, the established formal invocation of and prayer to the
+divinity may be mentioned. It clearly offers a bribe or proposes the
+terms of a bargain to the divinities, and has its parallel in the
+archaic prayers of many other languages. Translated from the Navajo, it
+is given as follows:</p>
+
+<blockquote>
+<p>
+People of the mountains and roots [i.e., the gods, as shown by the
+context], I&nbsp;hear you wish to be paid. I&nbsp;give to you food of
+corn pollen and humming-bird feathers, and I send to you precious
+stones, and
+<a name="pageXXXVI" id="pageXXXVI"> </a>
+tobacco, which you must smoke; it has been lighted by the sun’s rays,
+and for this I beg you to give me a good dance; be with me! Earth,
+I&nbsp;beg you to give me a good dance, and I offer to you food of
+humming-bird’s plumes and precious stones, and tobacco to smoke lighted
+by the sun’s rays, to pay for using you for the dance; make a good solid
+ground for me, that the gods who come to see the dance may be pleased at
+the ground their people dance upon; make my people healthy and strong of
+mind and body.
+</p>
+</blockquote>
+
+<p>In addition to his exhaustive account of the Hasjelti Dailjis and of
+the curious dry-sand painting which the Navajo in common with the Pueblo
+tribes make a prominent feature of their mysteries, and of which
+illustrations are furnished, Mr. Stevenson presents translations of six
+of the Navajo myths, some of which elucidate parts of the ceremony
+forming the main title of his paper. These myths are set forth in a
+simple and straightforward style, which gives intrinsic evidence that
+they retain the spirit of the original. They are certainly free from the
+pretentious embellishment and literary conceit which have perverted
+nearly all the published forms of Indian myths and tales hitherto
+accessible to general readers, and have even misled the numerous special
+students who had no facilities for verification.</p>
+
+
+<h5><a name="intro_finan" id="intro_finan">
+FINANCIAL STATEMENT.</a></h5>
+
+<p class="center"><i>Classification of expenditures made from the
+appropriation for North American ethnology for the fiscal year ending
+June 30, 1887.</i></p>
+
+<table class="lines" summary="table of expenses">
+<tr>
+<th>Expenses.</th>
+<th>Amount<br/>
+expended.</th>
+<th>Amount<br/>
+appropriated.</th>
+</tr>
+<tr>
+<td>Services</td>
+<td class="number">&nbsp;$27,988.59</td>
+<td></td>
+</tr>
+<tr>
+<td>Traveling expenses</td>
+<td class="number">2,339.89</td>
+<td></td>
+</tr>
+<tr>
+<td>Transportation of property</td>
+<td class="number">164.90</td>
+<td></td>
+</tr>
+<tr>
+<td>Field subsistence</td>
+<td class="number">102.30</td>
+<td></td>
+</tr>
+<tr>
+<td>Field supplies</td>
+<td class="number">204.51</td>
+<td></td>
+</tr>
+<tr>
+<td>Field material</td>
+<td class="number">11.54</td>
+<td></td>
+</tr>
+<tr>
+<td>Instruments</td>
+<td class="number">1.75</td>
+<td></td>
+</tr>
+<tr>
+<td>Laboratory material</td>
+<td class="number">5.00</td>
+<td></td>
+</tr>
+<tr>
+<td>Photographic material</td>
+<td class="number">16.30</td>
+<td></td>
+</tr>
+<tr>
+<td>Books and maps</td>
+<td class="number">176.43</td>
+<td></td>
+</tr>
+<tr>
+<td>Stationery</td>
+<td class="number">133.12</td>
+<td></td>
+</tr>
+<tr>
+<td>Illustrations for report</td>
+<td class="number">411.00</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Goods for distribution to Indians</p></td>
+<td class="number">100.00</td>
+<td></td>
+</tr>
+<tr>
+<td>Office furniture</td>
+<td class="number">3.25</td>
+<td></td>
+</tr>
+<tr>
+<td>Correspondence</td>
+<td class="number">11.62</td>
+<td></td>
+</tr>
+<tr>
+<td>Specimens</td>
+<td class="number">2,600.20</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Bonded railroad accounts forward to Treasury for
+settlement</p></td>
+<td class="number">45.65</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Balance on hand to meet outstanding liabilities</p></td>
+<td class="number">5,683.95</td>
+<td></td>
+</tr>
+<tr>
+<td class="inset">Total</td>
+<td class="number topline">40,000.00</td>
+<td class="number topline">$40,000.00</td>
+</tr>
+</table>
+
+</div>
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<hr class="mid" />
+
+<h3>ACCOMPANYING PAPERS.</h3>
+
+<hr class="mid" />
+
+<div class="mynote">
+
+<p>This paper is also available in free-standing form from Project
+Gutenberg as e-text 19856. The files are identical except that
+in the present text a few more typographical errors have been corrected,
+and some illustrations have been replaced.</p>
+
+<p>Some words in the text have variant spellings that were left unchanged.
+The main ones are:</p>
+
+<p class="hanging">
+<b>nyumu</b>: <i>sometimes hyphenated as <b>nyu-mu</b></i></p>
+
+<p class="hanging">
+<b>Mashongnavi</b>, <b>Shupaulovi</b>, <b>Sichumovi</b> (names):
+<i>sometimes written with accents as <b>Mashóngnavi</b>,
+<b>Shupaúlovi</b>, <b>Sichúmovi</b></i></p>
+
+</div>
+
+<p>
+<a name="page003" id="page003"> </a>
+</p>
+
+<hr class="mid" />
+
+<h3>A STUDY</h3>
+
+<h6>OF</h6>
+
+<h2>PUEBLO ARCHITECTURE:</h2>
+
+<h4 class="extended">TUSAYAN AND CIBOLA.</h4>
+
+<h6>BY</h6>
+
+<h4>VICTOR MINDELEFF.</h4>
+
+<hr class="mid" />
+
+<h4>CONTENTS.</h4>
+
+<hr class="tiny" />
+
+<table class="toc" summary="table of contents">
+<tr>
+<td></td>
+<td class="number">Page.</td>
+</tr>
+<tr>
+<td><a href="#intro1">
+Introduction</a></td>
+<td class="number">13</td>
+</tr>
+<tr>
+<td>
+<span class="smallcaps">Chapter I.</span>&mdash;
+<a href="#chapI">
+<ins class="correction" title="body text has ‘Traditional’">Traditionary</ins> history of
+Tusayan</a></td>
+<td class="number">16</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapI_1">
+Explanatory</a></td>
+<td class="number">16</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapI_2">
+Summary of traditions</a></td>
+<td class="number">16</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapI_3">
+List of traditionary gentes</a></td>
+<td class="number">38</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapI_4">
+Supplementary legend</a></td>
+<td class="number">40</td>
+</tr>
+<tr>
+<td>
+<span class="smallcaps">Chapter II.</span>&mdash;
+<a href="#chapII">
+Ruins and inhabited villages of Tusayan</a></td>
+<td class="number">42</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapII_1">
+Physical features of the province</a></td>
+<td class="number">42</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapII_2">
+Methods of survey</a></td>
+<td class="number">44</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapII_3">
+Plans and description of ruins</a></td>
+<td class="number">45</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_1">
+Walpi ruins</a></td>
+<td class="number">46</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_2">
+Old Mashongnavi</a></td>
+<td class="number">47</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_3">
+Shitaimuvi</a></td>
+<td class="number">48</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_4">
+Awatubi</a></td>
+<td class="number">49</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_5">
+Horn House</a></td>
+<td class="number">50</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_6">
+Small ruin <ins class="correction" title="body text has ‘between Horn House and Bat House’">near Horn
+House</ins></a></td>
+<td class="number">51</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_7">
+Bat House</a></td>
+<td class="number">52</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_8">
+Mishiptonga</a></td>
+<td class="number">52</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_9">
+<ins class="correction" title="body text has ‘Moen-kopi ruins’">Moen-kopi</ins></a></td>
+<td class="number">53</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_10">
+Ruins on the Oraibi wash</a></td>
+<td class="number">54</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_11">
+Kwaituki</a></td>
+<td class="number">56</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_12">
+Tebugkihu, or Fire House</a></td>
+<td class="number">57</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_13">
+Chukubi</a></td>
+<td class="number">59</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_3_14">
+Payupki</a></td>
+<td class="number">59</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapII_4">
+Plans and descriptions of inhabited villages</a></td>
+<td class="number">61</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_4_1">
+Hano</a></td>
+<td class="number">61</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_4_2">
+Sichumovi</a></td>
+<td class="number">62</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_4_3">
+Walpi</a></td>
+<td class="number">63</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_4_4">
+Mashongnavi</a></td>
+<td class="number">66</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_4_5">
+Shupaulovi</a></td>
+<td class="number">71</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_4_6">
+Shumopavi</a></td>
+<td class="number">73</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_4_7">
+Oraibi</a></td>
+<td class="number">76</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapII_4_8">
+Moen-kopi</a></td>
+<td class="number">77</td>
+</tr>
+<tr>
+<td>
+<span class="smallcaps">Chapter III.</span>&mdash;
+<a href="#chapIII">
+Ruins and inhabited villages of Cibola</a></td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapIII_1">
+Physical features of the province</a></td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapIII_2">
+Plans and descriptions of ruins</a></td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_1">
+Hawikuh</a></td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_2">
+Ketchipauan</a></td>
+<td class="number">81</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_3">
+Chalowe</a></td>
+<td class="number">83</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_4">
+Hampassawan</a></td>
+<td class="number">84</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_5">
+K’iakima</a></td>
+<td class="number">85</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_6">
+Matsaki</a></td>
+<td class="number">86</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_7">
+Pinawa</a></td>
+<td class="number">86</td>
+</tr>
+<tr>
+<td class="inset2">
+<a href="#chapIII_2_8">
+Halona</a></td>
+<td class="number">88</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_9">
+<ins class="correction" title="body text has ‘Tâaaiyalana’ alone">Tâaaiyalana ruins</ins></a></td>
+<td class="number">89</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_2_10">
+<ins class="correction" title="body text has ‘Kin-tiel’ alone">Kin-tiel and Kinna-Zinde</ins></a></td>
+<td class="number">91</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapIII_3">
+Plans and descriptions of inhabited villages</a></td>
+<td class="number">94</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_3_1">
+Nutria</a></td>
+<td class="number">94</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_3_2">
+Pescado</a></td>
+<td class="number">95</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_3_3">
+Ojo Caliente</a></td>
+<td class="number">96</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIII_3_4">
+Zuñi</a></td>
+<td class="number">97</td>
+</tr>
+<tr>
+<td>
+<p><span class="smallcaps">Chapter IV.</span>&mdash;
+<a href="#chapIV">
+Architecture of Tusayan and Cibola compared by constructional
+details</a></p></td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapIV_1">
+Introduction</a></td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapIV_2">
+House building</a></td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_2_1">
+Rites and methods</a></td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_2_2">
+Localization of gentes</a></td>
+<td class="number">104</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_2_3">
+Interior arrangement</a></td>
+<td class="number">108</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapIV_3">
+Kivas in Tusayan</a></td>
+<td class="number">111</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_1">
+General use of kivas by pueblo builders</a></td>
+<td class="number">111</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_2">
+Origin of the name</a></td>
+<td class="number">111</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_3">
+Antiquity of the kiva</a></td>
+<td class="number">111</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_4">
+Excavation of the kiva</a></td>
+<td class="number">112</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_5">
+Access</a></td>
+<td class="number">113</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_6">
+Masonry</a></td>
+<td class="number">114</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_7">
+Orientation</a></td>
+<td class="number">115</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_8">
+The ancient form of kiva</a></td>
+<td class="number">116</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_1_9">
+Native explanations of position</a></td>
+<td class="number">117</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_3_2">
+Methods of kiva building and rites</a></td>
+<td class="number">118</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_1">
+Typical plans</a></td>
+<td class="number">118</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_2">
+Work by women</a></td>
+<td class="number">129</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_3">
+Consecration</a></td>
+<td class="number">129</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_4">
+Various uses of kivas</a></td>
+<td class="number">130</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_5">
+Kiva ownership</a></td>
+<td class="number">133</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_6">
+Motives for building a kiva</a></td>
+<td class="number">134</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_7">
+Significance of structural plan</a></td>
+<td class="number">135</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_8">
+Typical measurements</a></td>
+<td class="number">136</td>
+</tr>
+<tr>
+<td class="inset3"><a href="#chapIV_3_2_9">
+List of Tusayan kivas</a></td>
+<td class="number">136</td>
+</tr>
+<tr>
+<td class="inset"><a href="#chapIV_4">
+Details of Tusayan and Cibola construction</a></td>
+<td class="number">137</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_1">
+Walls</a></td>
+<td class="number">137</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_2">
+Roofs and floors</a></td>
+<td class="number">148</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_3">
+Wall copings and roof drains</a></td>
+<td class="number">151</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_4">
+Ladders and steps</a></td>
+<td class="number">156</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_5">
+Cooking pits and ovens</a></td>
+<td class="number">162</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_6">
+Oven-shaped structures</a></td>
+<td class="number">167</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_7">
+Fireplaces and chimneys</a></td>
+<td class="number">167</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_8">
+Gateways and covered passages</a></td>
+<td class="number">180</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_9">
+Doors</a></td>
+<td class="number">182</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_10">
+Windows</a></td>
+<td class="number">194</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_11">
+Roof openings</a></td>
+<td class="number">201</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_12">
+Furniture</a></td>
+<td class="number">208</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_13">
+<ins class="correction" title="body text has ‘Corrals and gardens’ only">Corrals and gardens;
+eagle cages</ins></a></td>
+<td class="number">214</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_14">
+“Kisi” construction</a></td>
+<td class="number">217</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#chapIV_4_15">
+Architectural nomenclature</a></td>
+<td class="number">220</td>
+</tr>
+<tr>
+<td><a href="#concl">
+Concluding remarks</a></td>
+<td class="number">223</td>
+</tr>
+<tr>
+<td></td><td>&nbsp;</td>
+</tr>
+<tr>
+<td class="sans"><a href="#notesa">
+Footnotes</a></td>
+<td></td>
+</tr>
+<tr>
+<td class="sans"><a href="#indexa">
+Index</a></td>
+<td></td>
+</tr>
+<tr>
+<td class="sans"><a href="#nichols">
+About the Illustrations</a></td>
+<td></td>
+</tr>
+</table>
+
+<h4 class="chapter">ILLUSTRATIONS.</h4>
+
+<div class="mynote">
+
+<p>Illustrations have been placed as close as practicable to their
+discussion in the text. The printed page numbers show the original
+location. Multi-part Figures are sometimes shown vertically (one drawing
+above the other) where the original layout was horizontal.</p>
+
+<p>The Map and most site plans are shown as thumbnails linked to larger
+versions.</p>
+
+</div>
+
+<table class="toc" summary="list of plates">
+<tr>
+<td></td><td></td>
+<td class="number">Page.</td>
+</tr>
+<tr>
+<td class="item smallcaps"><a href="#plateI">
+Plate I.</a></td>
+<td><p>Map of the provinces of Tusayan and Cibola</p></td>
+<td class="number">12</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateII">
+II.</a></td>
+<td>Old Mashongnavi, plan</td>
+<td class="number">14</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateIII">
+III.</a></td>
+<td>General view of Awatubi</td>
+<td class="number">16</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateIV">
+IV.</a></td>
+<td>Awatubi (Talla-Hogan), plan</td>
+<td class="number">18</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateV">
+V.</a></td>
+<td>Standing walls of Awatubi</td>
+<td class="number">20</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateVI">
+VI.</a></td>
+<td>Adobe fragment in Awatubi</td>
+<td class="number">22</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateVII">
+VII.</a></td>
+<td>Horn House ruin, plan</td>
+<td class="number">24</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateVIII">
+VIII.</a></td>
+<td>Bat House</td>
+<td class="number">26</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateIX">
+IX.</a></td>
+<td>Mishiptonga (Jeditoh)</td>
+<td class="number">28</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateX">
+X.</a></td>
+<td>A small ruin near Moen-kopi</td>
+<td class="number">30</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXI">
+XI.</a></td>
+<td><p>Masonry on the outer wall of the Fire-House, detail</p></td>
+<td class="number">32</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXII">
+XII.</a></td>
+<td>Chukubi, plan</td>
+<td class="number">34</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXIII">
+XIII.</a></td>
+<td>Payupki, plan</td>
+<td class="number">36</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXIV">
+XIV.</a></td>
+<td>General view of Payupki</td>
+<td class="number">38</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXV">
+XV.</a></td>
+<td>Standing walls of Payupki</td>
+<td class="number">40</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXVI">
+XVI.</a></td>
+<td>Plan of Hano</td>
+<td class="number">42</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXVII">
+XVII.</a></td>
+<td>View of Hano</td>
+<td class="number">44</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXVIII">
+XVIII.</a></td>
+<td>Plan of Sichumovi</td>
+<td class="number">46</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXIX">
+XIX.</a></td>
+<td>View of Sichumovi</td>
+<td class="number">48</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXX">
+XX.</a></td>
+<td>Plan of Walpi</td>
+<td class="number">50</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXI">
+XXI.</a></td>
+<td>View of Walpi</td>
+<td class="number">52</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXII">
+XXII.</a></td>
+<td>South passageway of Walpi</td>
+<td class="number">54</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXIII">
+XXIII.</a></td>
+<td>Houses built over irregular sites, Walpi</td>
+<td class="number">56</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXIV">
+XXIV.</a></td>
+<td>Dance rock and kiva, Walpi</td>
+<td class="number">58</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXV">
+XXV.</a></td>
+<td>Foot trail to Walpi</td>
+<td class="number">60</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXVI">
+XXVI.</a></td>
+<td>Mashongnavi, plan</td>
+<td class="number">62</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXVII">
+XXVII.</a></td>
+<td>Mashongnavi with Shupaulovi in distance</td>
+<td class="number">64</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXVIII">
+XXVIII.</a></td>
+<td>Back wall of a Mashongnavi house-row</td>
+<td class="number">66</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXIX">
+XXIX.</a></td>
+<td><p>West side of a principal row in Mashongnavi</p></td>
+<td class="number">68</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXX">
+XXX.</a></td>
+<td>Plan of Shupaulovi</td>
+<td class="number">70</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXI">
+XXXI.</a></td>
+<td>View of Shupaulovi</td>
+<td class="number">72</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXII">
+XXXII.</a></td>
+<td>A covered passageway of Shupaulovi</td>
+<td class="number">74</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXIII">
+XXXIII.</a></td>
+<td>The chief kiva of Shupaulovi</td>
+<td class="number">76</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXIV">
+XXXIV.</a></td>
+<td>Plan of Shumopavi</td>
+<td class="number">78</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXV">
+XXXV.</a></td>
+<td>View of Shumopavi</td>
+<td class="number">80</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXVI">
+XXXVI.</a></td>
+<td>Oraibi, plan</td>
+<td class="number">In&nbsp;pocket.</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXVII">
+XXXVII.</a></td>
+<td><p>Key to the Oraibi plan, also showing localization of
+gentes</p></td>
+<td class="number">82</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXVIII">
+XXXVIII.</a></td>
+<td>A court of Oraibi</td>
+<td class="number">84</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXXXIX">
+XXXIX.</a></td>
+<td>Masonry terraces of Oraibi</td>
+<td class="number">86</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXL">
+XL.</a></td>
+<td>Oraibi house row, showing court side</td>
+<td class="number">88</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXLI">
+XLI.</a></td>
+<td>Back of Oraibi house row</td>
+<td class="number">90</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXLII">
+XLII.</a></td>
+<td>The site of Moen-kopi</td>
+<td class="number">92</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXLIII">
+XLIII.</a></td>
+<td>Plan of Moen-kopi</td>
+<td class="number">94</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXLIV">
+XLIV.</a></td>
+<td>Moen-kopi</td>
+<td class="number">96</td>
+</tr>
+<tr>
+<td class="item">
+<a name="page008" id="page008"> </a>
+<a href="#plateXLV">
+XLV.</a></td>
+<td>The Mormon mill at Moen-kopi</td>
+<td class="number">98</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXLVI">
+XLVI.</a></td>
+<td>Hawikuh, plan</td>
+<td class="number">100</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXLVII">
+XLVII.</a></td>
+<td>Hawikuh, view</td>
+<td class="number">102</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXLVIII">
+XLVIII.</a></td>
+<td>Adobe church at Hawikuh</td>
+<td class="number">104</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXLIX">
+XLIX.</a></td>
+<td>Ketchipanan, plan</td>
+<td class="number">106</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateL">
+L.</a></td>
+<td>Ketchipauan</td>
+<td class="number">108</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLI">
+LI.</a></td>
+<td>Stone church at Ketchipauan</td>
+<td class="number">110</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLII">
+LII.</a></td>
+<td>K’iakima, plan</td>
+<td class="number">112</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLIII">
+LIII.</a></td>
+<td>Site of K’iakima, at base of Tâaaiyalana</td>
+<td class="number">114</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLIV">
+LIV.</a></td>
+<td>Recent wall at K’iakima</td>
+<td class="number">116</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLV">
+LV.</a></td>
+<td>Matsaki, plan</td>
+<td class="number">118</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLVI">
+LVI.</a></td>
+<td>Standing wall at Pinawa</td>
+<td class="number">120</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLVII">
+LVII.</a></td>
+<td>Halona excavations as seen from Zuñi</td>
+<td class="number">122</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLVIII">
+LVIII.</a></td>
+<td>Fragments of Halona wall</td>
+<td class="number">124</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLIX">
+LIX.</a></td>
+<td>The mesa of Tâaaiyalana, from Zuñi</td>
+<td class="number">126</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLX">
+LX.</a></td>
+<td>Tâaaiyalana, plan</td>
+<td class="number">128</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXI">
+LXI.</a></td>
+<td>Standing walls of Tâaaiyalana ruins</td>
+<td class="number">130</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXII">
+LXII.</a></td>
+<td>Remains of a reservoir on Tâaaiyalana</td>
+<td class="number">132</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXIII">
+LXIII.</a></td>
+<td><p>Kin-tiel, plan (also showing excavations)</p></td>
+<td class="number">134</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXIV">
+LXIV.</a></td>
+<td>North wall of Kin-tiel</td>
+<td class="number">136</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXV">
+LXV.</a></td>
+<td>Standing walls of Kin-tiel</td>
+<td class="number">138</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXVI">
+LXVI.</a></td>
+<td>Kinna-Zinde</td>
+<td class="number">140</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXVII">
+LXVII.</a></td>
+<td>Nutria, plan</td>
+<td class="number">142</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXVIII">
+LXVIII.</a></td>
+<td>Nutria, view</td>
+<td class="number">144</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXIX">
+LXIX.</a></td>
+<td>Pescado, plan</td>
+<td class="number">146</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXX">
+LXX.</a></td>
+<td>Court view of Pescado, showing corrals</td>
+<td class="number">148</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXI">
+LXXI.</a></td>
+<td>Pescado houses</td>
+<td class="number">150</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXII">
+LXXII.</a></td>
+<td>Fragments of ancient masonry in Pescado</td>
+<td class="number">152</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXIII">
+LXXIII.</a></td>
+<td>Ojo Caliente, plan</td>
+<td class="number">In&nbsp;pocket.</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXIV">
+LXXIV.</a></td>
+<td>General view of Ojo Caliente</td>
+<td class="number">154</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXV">
+LXXV.</a></td>
+<td>House at Ojo Caliente</td>
+<td class="number">156</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXVI">
+LXXVI.</a></td>
+<td>Zuñi, plan</td>
+<td class="number">In&nbsp;pocket.</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXVII">
+LXXVII.</a></td>
+<td><p>Outline plan of Zuñi, showing distribution of oblique
+openings</p></td>
+<td class="number">158</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXVIII">
+LXXVIII.</a></td>
+<td><p>General inside view of Zuñi, looking west</p></td>
+<td class="number">160</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXIX">
+LXXIX.</a></td>
+<td>Zuñi terraces</td>
+<td class="number">162</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXX">
+LXXX.</a></td>
+<td>Old adobe church of Zuñi</td>
+<td class="number">164</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXI">
+LXXXI.</a></td>
+<td>Eastern rows of Zuñi</td>
+<td class="number">166</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXII">
+LXXXII.</a></td>
+<td>A Zuñi court</td>
+<td class="number">168</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXIII">
+LXXXIII.</a></td>
+<td>A Zuñi small house</td>
+<td class="number">170</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXIV">
+LXXXIV.</a></td>
+<td>A house-building at Oraibi</td>
+<td class="number">172</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXV">
+LXXXV.</a></td>
+<td>A Tusayan interior</td>
+<td class="number">174</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXVI">
+LXXXVI.</a></td>
+<td>A Zuñi interior</td>
+<td class="number">176</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXVII">
+LXXXVII.</a></td>
+<td>A kiva hatchway of Tusayan</td>
+<td class="number">178</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXVIII">
+LXXXVIII.</a></td>
+<td><p>North kivas of Shumopavi, from the northeast</p></td>
+<td class="number">180</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateLXXXIX">
+LXXXIX.</a></td>
+<td>Masonry in the north wing of Kin-tiel</td>
+<td class="number">182</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXC">
+XC.</a></td>
+<td>Adobe garden walls near Zuñi.</td>
+<td class="number">184</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCI">
+XCI.</a></td>
+<td>A group of stone corrals near Oraibi</td>
+<td class="number">186</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCII">
+XCII.</a></td>
+<td><p>An inclosing wall of upright stones at Ojo Caliente</p></td>
+<td class="number">188</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCIII">
+XCIII.</a></td>
+<td><p>Upright blocks of sandstone built into an ancient pueblo
+wall</p></td>
+<td class="number">190</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCIV">
+XCIV.</a></td>
+<td><p>Ancient wall of upright rocks in southwestern Colorado</p></td>
+<td class="number">192</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCV">
+XCV.</a></td>
+<td>Ancient floor-beams at Kin-tiel</td>
+<td class="number">194</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCVI">
+XCVI.</a></td>
+<td>Adobe walls in Zuñi</td>
+<td class="number">196</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCVII">
+XCVII.</a></td>
+<td>Wall coping and oven at Zuñi</td>
+<td class="number">198</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCVIII">
+XCVIII.</a></td>
+<td>Cross-pieces on Zuñi ladders</td>
+<td class="number">200</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateXCIX">
+XCIX.</a></td>
+<td>Outside steps at Pescado</td>
+<td class="number">202</td>
+</tr>
+<tr>
+<td class="item">
+<a href="#plateC">
+C.</a></td>
+<td>An excavated room at Kin-tiel</td>
+<td class="number">204</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCI">
+CI.</a></td>
+<td>Masonry chimneys of Zuñi</td>
+<td class="number">206</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCII">
+CII.</a></td>
+<td>Remains of a gateway in Awatubi</td>
+<td class="number">208</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCIII">
+CIII.</a></td>
+<td>Ancient gateway, Kin-tiel</td>
+<td class="number">210</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCIV">
+CIV.</a></td>
+<td>A covered passageway in Mashongnavi</td>
+<td class="number">212</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCV">
+CV.</a></td>
+<td>Small square openings in Pueblo Bonito</td>
+<td class="number">214</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCVI">
+CVI.</a></td>
+<td><p>Sealed openings in a detached house of Nutria</p></td>
+<td class="number">216</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCVII">
+CVII.</a></td>
+<td><p>Partial filling-in of a large opening in Oraibi, converting it
+into a doorway</p></td>
+<td class="number">218</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCVIII">
+CVIII.</a></td>
+<td><p>Large openings reduced to small windows, Oraibi</p></td>
+<td class="number">220</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCIX">
+CIX.</a></td>
+<td>Stone corrals and kiva of Mashongnavi</td>
+<td class="number">222</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCX">
+CX.</a></td>
+<td>Portion of a corral in Pescado</td>
+<td class="number">224</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXI">
+CXI.</a></td>
+<td>Zuñi eagle-cage</td>
+<td class="number">226</td>
+</tr>
+</table>
+
+<table class="toc" summary="list of figures">
+<tr>
+<td></td><td></td><td>&nbsp;</td>
+</tr>
+<tr>
+<td class="item smallcaps"><a href="#fig1">
+Fig.&nbsp;1</a>.</td>
+<td>View of the First Mesa</td>
+<td class="number">43</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig2">
+2.</a></td>
+<td>Ruins, Old Walpi mound</td>
+<td class="number">47</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig3">
+3.</a></td>
+<td>Ruin between Bat House and Horn House</td>
+<td class="number">51</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig4">
+4.</a></td>
+<td>Ruin near Moen-kopi, plan</td>
+<td class="number">53</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig5">
+5.</a></td>
+<td>Ruin 7 miles north of Oraibi</td>
+<td class="number">55</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig6">
+6.</a></td>
+<td>Ruin 14 miles north of Oraibi (Kwaituki)</td>
+<td class="number">56</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig7">
+7.</a></td>
+<td>Oval fire-house ruin, plan. (Tebugkihu)</td>
+<td class="number">58</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig8">
+8.</a></td>
+<td>Topography of the site of Walpi</td>
+<td class="number">64</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig9">
+9.</a></td>
+<td><p>Mashongnavi and Shupaulovi from Shumopavi</p></td>
+<td class="number">66</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig10">
+10.</a></td>
+<td>Diagram showing growth of Mashongnavi</td>
+<td class="number">67</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig11">
+11.</a></td>
+<td>Diagram showing growth of Mashongnavi</td>
+<td class="number">68</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig12">
+12.</a></td>
+<td>Diagram showing growth of Mashongnavi</td>
+<td class="number">69</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig13">
+13.</a></td>
+<td>Topography of the site of Shupaulovi</td>
+<td class="number">71</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig14">
+14.</a></td>
+<td>Court kiva of Shumopavi</td>
+<td class="number">75</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig15">
+15.</a></td>
+<td>Hampassawan, plan</td>
+<td class="number">84</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig16">
+16.</a></td>
+<td>Pinawa, plan</td>
+<td class="number">87</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig17">
+17.</a></td>
+<td>Nutria, plan; small diagram, old wall</td>
+<td class="number">94</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig18">
+18.</a></td>
+<td>Pescado, plan, old wall diagram</td>
+<td class="number">95</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig19">
+19.</a></td>
+<td>A Tusayan wood-rack</td>
+<td class="number">103</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig20">
+20.</a></td>
+<td>Interior ground plan of a Tusayan room</td>
+<td class="number">108</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig21">
+21.</a></td>
+<td><p>North kivas of Shumopavi from the southwest</p></td>
+<td class="number">114</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig22">
+22.</a></td>
+<td><p>Ground plan of the chief-kiva of Shupaulovi</p></td>
+<td class="number">122</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig23">
+23.</a></td>
+<td><p>Ceiling-plan of the chief-kiva of Shupaulovi</p></td>
+<td class="number">123</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig24">
+24.</a></td>
+<td>Interior view of a Tusayan kiva</td>
+<td class="number">124</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig25">
+25.</a></td>
+<td>Ground-plan of a Shupaulovi kiva</td>
+<td class="number">125</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig26">
+26.</a></td>
+<td>Ceiling-plan of a Shupaulovi kiva</td>
+<td class="number">125</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig27">
+27.</a></td>
+<td><p>Ground-plan of the chief-kiva of Mashongnavi</p></td>
+<td class="number">126</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig28">
+28.</a></td>
+<td><p>Interior view of a kiva hatchway in Tusayan</p></td>
+<td class="number">127</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig29">
+29.</a></td>
+<td><p>Mat used in closing the entrance of Tusayan kivas</p></td>
+<td class="number">128</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig30">
+30.</a></td>
+<td><p>Rectangular sipapuh in a Mashongnavi kiva</p></td>
+<td class="number">131</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig31">
+31.</a></td>
+<td>Loom-post in kiva floor at Tusayan</td>
+<td class="number">132</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig32">
+32.</a></td>
+<td><p>A Zuñi chimney showing pottery fragments embedded in its adobe
+base</p></td>
+<td class="number">139</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig33">
+33.</a></td>
+<td><p>A Zuñi oven with pottery scales embedded in its surface</p></td>
+<td class="number">139</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig34">
+34.</a></td>
+<td><p>Stone wedges of Zuñi masonry exposed in a rain-washed
+wall</p></td>
+<td class="number">141</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig35">
+35.</a></td>
+<td><p>An unplastered house wall in Ojo Caliente</p></td>
+<td class="number">142</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig36">
+36.</a></td>
+<td><p>Wall decorations in Mashongnavi, executed in pink on a white
+ground</p></td>
+<td class="number">146</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig37">
+37.</a></td>
+<td>Diagram of Zuñi roof construction</td>
+<td class="number">149</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig38">
+38.</a></td>
+<td><p>Showing abutment of smaller roof-beams over round
+girders</p></td>
+<td class="number">151</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig39">
+39.</a></td>
+<td>Single stone roof-drains</td>
+<td class="number">153</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig40">
+40.</a></td>
+<td>Trough roof-drains of stone</td>
+<td class="number">153</td>
+</tr>
+<tr>
+<td class="item">
+<a href="#fig41">
+41.</a></td>
+<td>Wooden roof-drains</td>
+<td class="number">154</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig42">
+42.</a></td>
+<td>Curved roof-drains of stone in Tusayan</td>
+<td class="number">154</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig43">
+43.</a></td>
+<td><p>Tusayan roof-drains; a&nbsp;discarded metate and a gourd</p></td>
+<td class="number">155</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig44">
+44.</a></td>
+<td><p>Zuñi roof-drain, with splash-stones on roof below</p></td>
+<td class="number">156</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig45">
+45.</a></td>
+<td>A modern notched ladder in Oraibi</td>
+<td class="number">157</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig46">
+46.</a></td>
+<td>Tusayan notched ladders from Mashongnavi</td>
+<td class="number">157</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig47">
+47.</a></td>
+<td>Aboriginal American forms of ladder</td>
+<td class="number">158</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig48">
+48.</a></td>
+<td><p>Stone steps at Oraibi with platform at corner</p></td>
+<td class="number">161</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig49">
+49.</a></td>
+<td><p>Stone steps, with platform at chimney, in Oraibi</p></td>
+<td class="number">161</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig50">
+50.</a></td>
+<td>Stone steps in Shumopavi</td>
+<td class="number">162</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig51">
+51.</a></td>
+<td>A series of cooking pits in Mashongnavi</td>
+<td class="number">163</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig52">
+52.</a></td>
+<td>Pi-gummi ovens of Mashongnavi</td>
+<td class="number">163</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig53">
+53.</a></td>
+<td><p>Cross sections of pi-gummi ovens of Mashongnavi</p></td>
+<td class="number">163</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig54">
+54.</a></td>
+<td><p>Diagrams showing foundation stones of a Zuñi oven</p></td>
+<td class="number">164</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig55">
+55.</a></td>
+<td>Dome-shaped oven on a plinth of masonry</td>
+<td class="number">165</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig56">
+56.</a></td>
+<td><p>Oven in Pescado exposing stones of masonry</p></td>
+<td class="number">166</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig57">
+57.</a></td>
+<td><p>Oven in Pescado exposing stones of masonry</p></td>
+<td class="number">166</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig58">
+58.</a></td>
+<td>Shrines in Mashongnavi</td>
+<td class="number">167</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig59">
+59.</a></td>
+<td><p>A poultry house in Sichumovi resembling an oven</p></td>
+<td class="number">167</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig60">
+60.</a></td>
+<td><p>Ground-plan of an excavated room in Kin-tiel</p></td>
+<td class="number">168</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig61">
+61.</a></td>
+<td><p>A corner chimney-hood with two supporting poles, Tusayan</p></td>
+<td class="number">170</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig62">
+62.</a></td>
+<td>A curved chimney-hood of Mashongnavi</td>
+<td class="number">170</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig63">
+63.</a></td>
+<td><p>A Mashongnavi chimney-hood and walled-up fireplace</p></td>
+<td class="number">171</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig64">
+64.</a></td>
+<td>A chimney-hood of Shupaulovi</td>
+<td class="number">172</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig65">
+65.</a></td>
+<td><p>A semi-detached square chimney-hood of Zuñi</p></td>
+<td class="number">172</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig66">
+66.</a></td>
+<td><p>Unplastered Zuñi chimney-hoods, illustrating
+construction</p></td>
+<td class="number">173</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig67">
+67.</a></td>
+<td>A fireplace and mantel in Sichumovi</td>
+<td class="number">174</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig68">
+68.</a></td>
+<td>A second-story fireplace in Mashongnavi</td>
+<td class="number">174</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig69">
+69.</a></td>
+<td>Piki stone and chimney-hood in Sichumovi</td>
+<td class="number">175</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig70">
+70.</a></td>
+<td><p>Piki stone and primitive andiron in Shumopavi</p></td>
+<td class="number">176</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig71">
+71.</a></td>
+<td><p>A terrace fireplace and chimney of Shumopavi</p></td>
+<td class="number">177</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig72">
+72.</a></td>
+<td><p>A terrace cooking-pit and chimney of Walpi</p></td>
+<td class="number">177</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig73">
+73.</a></td>
+<td><p>A ground cooking-pit of Shumopavi covered with a chimney</p></td>
+<td class="number">178</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig74">
+74.</a></td>
+<td>Tusayan chimneys</td>
+<td class="number">179</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig75">
+75.</a></td>
+<td>A barred Zuñi door</td>
+<td class="number">183</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig76">
+76.</a></td>
+<td>Wooden pivot hinges of a Zuñi door</td>
+<td class="number">184</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig77">
+77.</a></td>
+<td>Paneled wooden doors in Hano</td>
+<td class="number">185</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig78">
+78.</a></td>
+<td>Framing of a Zuñi door panel</td>
+<td class="number">186</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig79">
+79.</a></td>
+<td>Rude transoms over Tusayan openings</td>
+<td class="number">188</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig80">
+80.</a></td>
+<td><p>A large Tusayan doorway, with small transom openings</p></td>
+<td class="number">189</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig81">
+81.</a></td>
+<td>A doorway and double transom in Walpi</td>
+<td class="number">189</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig82">
+82.</a></td>
+<td><p>An ancient doorway in a Canyon de Chelly cliff ruin</p></td>
+<td class="number">190</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig83">
+83.</a></td>
+<td><p>A symmetrical notched doorway in Mashongnavi</p></td>
+<td class="number">190</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig84">
+84.</a></td>
+<td>A Tusayan notched doorway</td>
+<td class="number">191</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig85">
+85.</a></td>
+<td><p>A large Tusayan doorway with one notched jamb</p></td>
+<td class="number">192</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig86">
+86.</a></td>
+<td><p>An ancient circular doorway, or “stone-close,” in
+Kin-tiel</p></td>
+<td class="number">193</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig87">
+87.</a></td>
+<td><p>Diagram illustrating symmetrical arrangement of small openings in
+Pueblo Bonito</p></td>
+<td class="number">195</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig88">
+88.</a></td>
+<td><p>Incised decoration on a rude window-sash in Zuñi</p></td>
+<td class="number">196</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig89">
+89.</a></td>
+<td><p>Sloping selenite window at base of Zuñi wall on upper
+terrace</p></td>
+<td class="number">197</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig90">
+90.</a></td>
+<td>A Zuñi window glazed with selenite</td>
+<td class="number">197</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig91">
+91.</a></td>
+<td><p>Small openings in the back wall of a Zuñi house cluster.</p></td>
+<td class="number">198</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig92">
+92.</a></td>
+<td>Sealed openings in Tusayan</td>
+<td class="number">199</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig93">
+93.</a></td>
+<td>A Zuñi doorway converted into a window</td>
+<td class="number">201</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig94">
+94.</a></td>
+<td>Zuñi roof-openings</td>
+<td class="number">202</td>
+</tr>
+<tr>
+<td class="item">
+<a href="#fig95">
+95.</a></td>
+<td>A Zuñi roof-opening with raised coping</td>
+<td class="number">203</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig96">
+96.</a></td>
+<td>Zuñi roof-openings with one raised end</td>
+<td class="number">203</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig97">
+97.</a></td>
+<td>A Zuñi roof-hole with cover</td>
+<td class="number">204</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig98">
+98.</a></td>
+<td>Kiva trap-door in Zuñi</td>
+<td class="number">205</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig99">
+99.</a></td>
+<td><p>Halved and pinned trap-door frame of a Zuñi kiva</p></td>
+<td class="number">206</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig100">
+100.</a></td>
+<td><p>Typical sections of Zuñi oblique openings</p></td>
+<td class="number">208</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig101">
+101.</a></td>
+<td><p>Arrangement of mealing stones in a Tusayan house</p></td>
+<td class="number">209</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig102">
+102.</a></td>
+<td>A Tusayan grain bin</td>
+<td class="number">210</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig103">
+103.</a></td>
+<td>A Zuñi plume-box</td>
+<td class="number">210</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig104">
+104.</a></td>
+<td>A Zuñi plume-box</td>
+<td class="number">210</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig105">
+105.</a></td>
+<td>A Tusayan mealing trough</td>
+<td class="number">211</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig106">
+106.</a></td>
+<td>An ancient pueblo form of metate</td>
+<td class="number">211</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig107">
+107.</a></td>
+<td>Zuñi stools</td>
+<td class="number">213</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig108">
+108.</a></td>
+<td>A Zuñi chair</td>
+<td class="number">213</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig109">
+109.</a></td>
+<td>Construction of a Zuñi corral</td>
+<td class="number">215</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig110">
+110.</a></td>
+<td>Gardens of Zuñi</td>
+<td class="number">216</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig111">
+111.</a></td>
+<td>“Kishoni,” or uncovered shade, of Tusayan</td>
+<td class="number">218</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig112">
+112.</a></td>
+<td>A Tusayan field shelter, from southwest</td>
+<td class="number">219</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig113">
+113.</a></td>
+<td>A Tusayan field shelter, from northeast</td>
+<td class="number">219</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig114">
+114.</a></td>
+<td><p>Diagram showing ideal section of terraces, with Tusayan
+names</p></td>
+<td class="number">223</td>
+</tr>
+</table>
+
+<p>
+<a name="page012" id="page012"> </a>
+</p>
+
+<p class="illustration">
+<a name="plateI" id="plateI"
+href="images/plate1.png">
+<img src="images/plate1thumb.png" width="405" height="282"
+alt="map of pueblo region"
+title="map of pueblo region" /></a></p>
+
+<p class="caption">
+<a href="images/plate1.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate I.<br/>
+General Map of the Pueblo Region<br/>
+of Arizona and New Mexico,<br/>
+Showing Relative Position of the Provinces<br/>
+of Tusayan and Cibola.<br/>
+by<br/>
+Victor Mindeleff.</span></p>
+
+<p>
+<a name="page013" id="page013"> </a>
+</p>
+
+<h3 class="chapter">A STUDY OF PUEBLO ARCHITECTURE<br/>
+IN TUSAYAN AND CIBOLA.</h3>
+
+<hr class="tiny" />
+
+<h4 class="smallcaps">By Victor Mindeleff.</h4>
+
+<hr class="tiny" />
+
+<h5 class="extended"><a name="intro1" id="intro1">
+INTRODUCTION.</a></h5>
+
+
+<p>The remains of pueblo architecture are found scattered over thousands
+of square miles of the arid region of the southwestern plateaus. This
+vast area includes the drainage of the Rio Pecos on the east and that of
+the Colorado on the west, and extends from central Utah on the north
+beyond the limits of the United States southward, in which direction its
+boundaries are still undefined.</p>
+
+<p>The descendants of those who at various times built these stone
+villages are few in number and inhabit about thirty pueblos distributed
+irregularly over parts of the region formerly occupied. Of these the
+greater number are scattered along the upper course of the Rio Grande
+and its tributaries in New Mexico; a&nbsp;few of them, comprised within the
+ancient provinces of Cibola and Tusayan, are located within the drainage
+of the Little Colorado. From the time of the earliest Spanish
+expeditions into the country to the present day, a&nbsp;period covering more
+than three centuries, the former province has been often visited by
+whites, but the remoteness of Tusayan and the arid and forbidding
+character of its surroundings have caused its more complete isolation.
+The architecture of this district exhibits a close adherence to
+aboriginal practices, still bears the marked impress of its development
+under the exacting conditions of an arid environment, and is but slowly
+yielding to the influence of foreign ideas.</p>
+
+<p>The present study of the architecture of Tusayan and Cibola embraces
+all of the inhabited pueblos of those provinces, and includes a number
+of the ruins traditionally connected with them. It will be observed by
+reference to the map that the area embraced in these provinces comprises
+but a small portion of the vast region over which pueblo culture once
+extended.</p>
+
+<p>This study is designed to be followed by a similar study of two
+typical groups of ruins, viz, that of Canyon de Chelly, in northeastern
+Arizona, and that of the Chaco Canyon, of New Mexico; but it has been
+necessary for the writer to make occasional reference to these ruins in
+the present
+<a name="page014" id="page014"> </a>
+paper, both in the discussion of general arrangement and characteristic
+ground plans, embodied in Chapters <span class="smallroman">II</span>
+and <span class="smallroman">III</span> and in the comparison by
+constructional details treated in Chapter <span class="smallroman">IV</span>, in order to define clearly the relations of the
+various features of pueblo architecture. They belong to the same pueblo
+system illustrated by the villages of Tusayan and Cibola, and with the
+Canyon de Chelly group there is even some trace of traditional
+connection, as is set forth by Mr. Stephen in Chapter <span class="smallroman">I</span>. The more detailed studies of these ruins, to be
+published later, together with the material embodied in the present
+paper, will, it is thought, furnish a record of the principal
+characteristics of an important type of primitive architecture, which,
+under the influence of the arid environment of the southwestern
+plateaus, has developed from the rude lodge into the many-storied house
+of rectangular rooms. Indications of some of the steps of this
+development are traceable even in the architecture of the present
+day.</p>
+
+<p>The pueblo of Zuñi was surveyed by the writer in the autumn of 1881
+with a view to procuring the necessary data for the construction of a
+large-scale model of this pueblo. For this reason the work afforded a
+record of external features only.</p>
+
+<p>The modern pueblos of Tusayan were similarly surveyed in the
+following season (1882-’83), the plans being supplemented by
+photographs, from which many of the illustrations accompanying this
+paper have been drawn. The ruin of Awatubi was also included in the work
+of this season.</p>
+
+<p>In the autumn of 1885 many of the ruined pueblos of Tusayan were
+surveyed and examined. It was during this season’s work that the details
+of the kiva construction, embodied in the last chapter of this paper,
+were studied, together with interior details of the dwellings. It was in
+the latter part of this season that the farming pueblos of Cibola were
+surveyed and photographed.</p>
+
+<p>The Tusayan farming pueblo of Moen-kopi and a number of the ruins in
+the province were surveyed and studied in the early part of the season
+of 1887-’88, the latter portion of which season was principally devoted
+to an examination of the Chaco ruins in New Mexico.</p>
+
+<p>In the prosecution of the field work above outlined the author has
+been greatly indebted to the efficient assistance and hearty cooperation
+of Mr. Cosmos Mindeleff, by whom nearly all the pueblos illustrated,
+with the exception of Zuñi, have been surveyed and platted.</p>
+
+<p>The plans obtained have involved much careful work with surveying
+instruments, and have all been so platted as faithfully to record the
+minute variations from geometric forms which are so characteristic of
+the pueblo work, but which have usually been ignored in the hastily
+prepared sketch plans that have at times appeared. In consequence of the
+necessary omission of just such information in hastily drawn plans,
+erroneous impressions have been given regarding the degree of skill to
+which the pueblo peoples had attained in the planning and building of
+<a name="page015" id="page015"> </a>
+their villages. In the general distribution of the houses, and in the
+alignment and arrangement of their walls, as indicated in the plans
+shown in Chapters <span class="smallroman">II</span> and <span class="smallroman">III</span>, an absence of high architectural attainment is
+found, which is entirely in keeping with the lack of skill apparent in
+many of the constructional devices shown in Chapter <span class="smallroman">IV</span>.</p>
+
+<p class="illustration">
+<a name="plateII" id="plateII"> </a>
+<img src="images/plate2.png" width="456" height="638"
+alt="plan of Old Mashongnavi"
+title="plan of Old Mashongnavi" /></p>
+<p class="caption smallcaps">
+Plate II. Old Mashongnavi, plan.</p>
+
+<p>In preparing this paper for publication Mr. Cosmos Mindeleff has
+rendered much assistance in the revision of manuscript, and in the
+preparation of some of the final drawings of ground plans; on him has
+also fallen the compilation and arrangement of Mr. A.&nbsp;M. Stephen’s
+traditionary material from Tusayan, embraced in the first chapter of the
+paper.</p>
+
+<p>This latter material is of special interest in a study of the pueblos
+as indicating some of the conditions under which this architectural type
+was developed, and it appropriately introduces the more purely
+architectural study by the author.</p>
+
+<p>Such traditions must be used as history with the utmost caution, and
+only for events that are very recent. Time relations are often
+hopelessly confused and the narratives are greatly incumbered with
+mythologic details. But while so barren in definite information, these
+traditions are of the greatest value, often through their merely
+incidental allusions, in presenting to our minds a picture of the
+conditions under which the repeated migrations of the pueblo builders
+took place.</p>
+
+<p>The development of architecture among the Pueblo Indians was
+comparatively rapid and is largely attributable to frequent changes,
+migrations, and movements of the people as described in Mr. Stephen’s
+account. These changes were due to a variety of causes, such as disease,
+death, the frequent warfare carried on between different tribes and
+branches of the builders, and the hostility of outside tribes; but a
+most potent factor was certainly the inhospitable character of their
+environment. The disappearance of some venerated spring during an
+unusually dry season would be taken as a sign of the disfavor of the
+gods, and, in spite of the massive character of the buildings, would
+lead to the migration of the people to a more favorable spot. The
+traditions of the Zuñis, as well as those of the Tusayan, frequently
+refer to such migrations. At times tribes split up and separate, and
+again phratries or distant groups meet and band together. It is
+remarkable that the substantial character of the architecture should
+persist through such long series of compulsory removals, but while the
+builders were held together by the necessity for defense against their
+wilder neighbors or against each other, this strong defensive motive
+would perpetuate the laborious type of construction. Such conditions
+would contribute to the rapid development of the building art.</p>
+
+<p>
+<a name="page016" id="page016"> </a>
+</p>
+
+<h4 class="chapter"><a name="chapI" id="chapI">
+CHAPTER I.</a></h4>
+
+<h5 class="extended">TRADITIONAL HISTORY OF TUSAYAN.</h5>
+
+<h5 class="section"><a name="chapI_1" id="chapI_1">EXPLANATORY.</a></h5>
+
+<p>In this chapter<a class="tag" name="tag1a" id="tag1a" href="#note1a">1</a> is presented a summary of the traditions of the Tusayan,
+a number of which were collected from old men, from Walpi on the east to
+Moen-kopi on the west. A&nbsp;tradition varies much with the tribe and the
+individual; an authoritative statement of the current tradition on any
+point could be made only with a complete knowledge of all traditions
+extant. Such knowledge is not possessed by any one man, and the material
+included in this chapter is presented simply as a summary of the
+traditions secured.</p>
+
+<p>The material was collected by Mr. A.&nbsp;M. Stephen, of Keam’s
+Canyon, Arizona, who has enjoyed unusual facilities for the work, having
+lived for a number of years past in Tusayan and possessed the confidence
+of the principal priests&mdash;a very necessary condition in work of
+this character. Though far from complete, this summary is a more
+comprehensive presentation of the traditionary history of these people
+than has heretofore been published.</p>
+
+
+<h5 class="section"><a name="chapI_2" id="chapI_2">
+SUMMARY OF TRADITIONS.</a></h5>
+
+<p>The creation myths of the Tusayan differ widely, but none of them
+designate the region now occupied as the place of their genesis. These
+people are socially divided into family groups called wi´ngwu, the
+descendants of sisters, and groups of wi´ngwu tracing descent from the
+same female ancestor, and having a common totem called my´umu. Each of
+these totemic groups preserves a creation myth, carrying in its details
+special reference to themselves; but all of them claim a common origin
+in the interior of the earth, although the place of emergence to the
+surface is set in widely separated localities. They all agree in
+maintaining this to be the fourth plane on which mankind has existed. In
+the beginning all men lived together in the lowest depths, in a region
+of darkness and moisture; their bodies were misshaped and horrible, and
+they suffered great misery, moaning and bewailing continually. Through
+the intervention of Myúingwa (a&nbsp;vague conception known as the god
+of the interior) and of Baholikonga (a&nbsp;crested serpent of enormous
+size, the genius of water), the “old men” obtained a seed from which
+sprang a magic growth of cane. It penetrated through a crevice
+<a name="page017" id="page017"> </a>
+in the roof overhead and mankind climbed to a higher plane. A&nbsp;dim light
+appeared in this stage and vegetation was produced. Another magic growth
+of cane afforded the means of rising to a still higher plane on which
+the light was brighter; vegetation was reproduced and the animal kingdom
+was created. The final ascent to this present, or fourth plane, was
+effected by similar magic growths and was led by mythic twins, according
+to some of the myths, by climbing a great pine tree, in others by
+climbing the cane, <i>Phragmites communis</i>, the alternate leaves of
+which afforded steps as of a ladder, and in still others it is said to
+have been a rush, through the interior of which the people passed up to
+the surface. The twins sang as they pulled the people out, and when
+their song was ended no more were allowed to come; and hence, many more
+were left below than were permitted to come above; but the outlet
+through which mankind came has never been closed, and Myu´ingwa sends
+through it the germs of all living things. It is still symbolized by the
+peculiar construction of the hatchway of the kiva and in the designs on
+the sand altars in these underground chambers, by the unconnected circle
+painted on pottery and by devices on basketry and other textile
+fabrics.</p>
+
+<p class="illustration">
+<a name="plateIII" id="plateIII"> </a>
+<img src="images/plate3.png" width="454" height="262"
+alt="Awatubi"
+title="Awatubi" /></p>
+<p class="caption smallcaps">
+Plate III. General view of Awatubi.</p>
+
+<p>All the people that were permitted to come to the surface were
+collected and the different families of men were arranged together. This
+was done under the direction of twins, who are called Pekónghoya, the
+younger one being distinguished by the term Balíngahoya, the Echo. They
+were assisted by their grandmother, Kóhkyang wúhti, the Spider woman,
+and these appear in varying guises in many of the myths and legends.
+They instructed the people in divers modes of life to dwell on mountain
+or on plain, to build lodges, or huts, or windbreaks. They distributed
+appropriate gifts among them and assigned each a pathway, and so the
+various families of mankind were dispersed over the earth’s surface.</p>
+
+<p>The Hopituh,<a class="tag" name="tag2a" id="tag2a" href="#note2a">2</a> after being taught to build stone houses, were also
+divided, and the different divisions took separate paths. The legends
+indicate a long period of extensive migrations in separate communities;
+the groups came to Tusayan at different times and from different
+directions, but the people of all the villages concur in designating the
+Snake people as the first occupants of the region. The eldest member of
+that nyumu tells a curious legend of their migration from which the
+following is quoted:</p>
+
+<blockquote>
+<p>
+At the general dispersal my people lived in snake skins, each family
+occupying a separate snake skin bag, and all were hung on the end of a
+rainbow, which swung around until the end touched Navajo Mountain, where
+the bags dropped from it; and wherever a bag dropped, there was their
+house. After they arranged their bags they came out from them as men and
+women, and they then, built a stone house which had five sides. [The
+story here relates the adventures of a mythic Snake Youth, who brought
+back a strange woman who gave birth to rattlesnakes; these bit the
+people and compelled them to migrate.] A brilliant star arose in the
+southeast,
+<a name="page018" id="page018"> </a>
+which would shine for a while and then disappear. The old men said,
+“Beneath that star there must be people,” so they determined to travel
+toward it. They cut a staff and set it in the ground and watched till
+the star reached its top, then they started and traveled as long as the
+star shone; when it disappeared they halted. But the star did not shine
+every night, for sometimes many years elapsed before it appeared again.
+When this occurred, our people built houses during their halt; they
+built both round and square houses, and all the ruins between here and
+Navajo Mountain mark the places where our people lived. They waited till
+the star came to the top of the staff again, then they moved on, but
+many people were left in those houses and they followed afterward at
+various times. When our people reached Wipho (a&nbsp;spring a few miles
+north from Walpi) the star disappeared and has never been seen since.
+They built a house there and after a time Másauwu (the god of the face
+of the earth) came and compelled them to move farther down the valley,
+to a point about half way between the East and Middle Mesa, and there
+they stayed many plantings. One time the old men were assembled and
+Másauwu came among them, looking like a horrible skeleton, and his bones
+rattling dreadfully. He menaced them with awful gestures, and lifted off
+his fleshless head and thrust it into their faces; but he could not
+frighten them. So he said, “I&nbsp;have lost my wager; all that I have is
+yours; ask for anything you want and I will give it to you.” At that
+time our people’s house was beside the water course, and Másauwu said,
+“Why are you sitting here in the mud? Go up yonder where it is dry.” So
+they went across to the low, sandy terrace on the west side of the mesa,
+near the point, and built a house and lived there. Again the old men
+were assembled and two demons came among them and the old men took the
+great Baho and the nwelas and chased them away. When they were
+returning, and were not far north from their village, they met the
+Lenbaki (Cane-Flute, a&nbsp;religious society still maintained) of the Horn
+family. The old men would not allow them to come in until Másauwu
+appeared and declared them to be good Hopituh. So they built houses
+adjoining ours and that made a fine, large village. Then other Hopituh
+came in from time to time, and our people would say, “Build here, or
+build there,” and portioned the land among the new comers.
+</p>
+</blockquote>
+
+<p>The site of the first Snake house in the valley, mentioned in the
+foregoing legend, is now barely to be discerned, and the people refuse
+to point out the exact spot. It is held as a place of votive offerings
+during the ceremony of the Snake dance, and, as its name, Bátni,
+implies, certain rain-fetiches are deposited there in small jars buried
+in the ground. The site of the village next occupied can be quite easily
+distinguished, and is now called Kwetcap tutwi, ash heap terrace, and
+this was the village to which the name Walpi was first applied&mdash;a
+term meaning the place at the notched mesa, in allusion to a broad gap
+in the stratum of sandstone on the summit of the mesa, and by which it
+can be distinguished from a great distance. The ground plan of this
+early Walpi can still be partly traced, indicating the former existence
+of an extensive village of clustering, little-roomed houses, with thick
+walls constructed of small stones.</p>
+
+<p>The advent of the Lenbaki is still commemorated by a biennial
+ceremony, and is celebrated on the year alternating with their other
+biennial ceremony, the Snake dance.</p>
+
+<p>The Horn people, to which the Lenbaki belonged, have a legend of
+coming from a mountain range in the east.</p>
+
+<blockquote>
+<p>
+Its peaks were always snow covered, and the trees were always green.
+From the hillside the plains were seen, over which roamed the deer, the
+antelope, and the
+<a name="page019" id="page019"> </a>
+bison, feeding on never-failing grasses. Twining through these plains
+were streams of bright water, beautiful to look upon. A&nbsp;place where none
+but those who were of our people ever gained access.
+</p>
+</blockquote>
+
+<p>This description suggests some region of the head-waters of the Rio
+Grande. Like the Snake people, they tell of a protracted migration, not
+of continuous travel, for they remained for many seasons in one place,
+where they would plant and build permanent houses. One of these halting
+places is described as a canyon with high, steep walls, in which was a
+flowing stream; this, it is said, was the Tségi (the Navajo name for
+Canyon de Chelly). Here they built a large house in a cavernous recess,
+high up in the canyon wall. They tell of devoting two years<a class="tag" name="tag3a" id="tag3a" href="#note3a">3</a> to ladder making
+and cutting and pecking shallow holes up the steep rocky side by which
+to mount to the cavern, and three years more were employed in building
+the house. While this work was in progress part of the men were planting
+gardens, and the women and children were gathering stones. But no
+adequate reason is given for thus toiling to fit this impracticable site
+for occupation; the footprints of Másauwu, which they were following,
+led them there.</p>
+
+<p>The legend goes on to tell that after they had lived there for a long
+time a stranger happened to stray in their vicinity, who proved to be a
+Hopituh, and said that he lived in the south. After some stay he left
+and was accompanied by a party of the “Horn,” who were to visit the land
+occupied by their kindred Hopituh and return with an account of them;
+but they never came back. After waiting a long time another band was
+sent, who returned and said that the first emissaries had found wives
+and had built houses on the brink of a beautiful canyon, not far from
+the other Hopituh dwellings. After this many of the Horns grew
+dissatisfied with their cavern home, dissensions arose, they left their
+home, and finally they reached Tusayan. They lived at first in one of
+the canyons east of the villages, in the vicinity of Keam’s Canyon, and
+some of the numerous ruins on its brink mark the sites of their early
+houses. There seems to be no legend distinctly attaching any particular
+ruin to the Horn people, although there is little doubt that the Snake
+and the Horn were the two first peoples who came to the neighborhood of
+the present villages. The Bear people were the next, but they arrived as
+separate branches, and from opposite directions, although of the same
+Hopituh stock. It has been impossible to obtain directly the legend of
+the Bears from the west. The story of the Bears from the east tells of
+encountering the Fire people, then living about 25 miles east from
+Walpi; but these are now extinct, and nearly all that is known of them
+is told in the Bear legend, the gist of which is as follows:</p>
+
+<p>The Bears originally lived among the mountains of the east, not far
+distant from the Horns. Continual quarrels with neighboring villages
+<a name="page020" id="page020"> </a>
+brought on actual fighting, and the Bears left that region and traveled
+westward. As with all the other people, they halted, built houses, and
+planted, remaining stationary for a long while; this occurred at
+different places along their route.</p>
+
+<p>A portion of these people had wings, and they flew in advance to
+survey the land, and when the main body were traversing an arid region
+they found water for them. Another portion had claws with which they dug
+edible roots, and they could also use them for scratching hand and foot
+holes in the face of a steep cliff. Others had hoofs, and these carried
+the heaviest burdens; and some had balls of magic spider web, which they
+could use on occasion for ropes, and they could also spread the web and
+use it as a mantle, rendering the wearer invisible when he apprehended
+danger.</p>
+
+<p>They too came to the Tségi (Canyon de Chelly), where they found
+houses but no people, and they also built houses there. While living
+there a rupture occurred, a&nbsp;portion of them separating and going far to
+the westward. These seceding bands are probably that branch of the Bears
+who claim their origin in the west. Some time after this, but how long
+after is not known, a&nbsp;plague visited the canyon, and the greater portion
+of the people moved away, but leaving numbers who chose to remain. They
+crossed the Chinli valley and halted for a short time at a place a short
+distance northeast from Great Willow water (“Eighteen Mile Spring”).
+They did not remain there long, however, but moved a few miles farther
+west, to a place occupied by the Fire people who lived in a large oval
+house. The ruin of this house still stands, the walls from 5 to 8 feet
+high, and remarkable from the large-sized blocks of stone used in their
+construction; it is still known to the Hopituh as Tebvwúki, the
+Fire-house. Here some fighting occurred, and the Bears moved westward
+again to the head of Antelope (Jeditoh) Canyon, about 4 miles from
+Keam’s Canyon and about 15 miles east from Walpi. They built there a
+rambling cluster of small-roomed houses, of which the ground plan has
+now become almost obliterated. This ruin is called by the Hopituh “the
+ruin at the place of wild gourds.” They seem to have occupied this
+neighborhood for a considerable period, as mention is made of two or
+three segregations, when groups of families moved a few miles away and
+built similar house clusters on the brink of that canyon.</p>
+
+<p>The Fire-people, who, some say, were of the Horn people, must have
+abandoned their dwelling at the Oval House or must have been driven out
+at the time of their conflict with the Bears, and seem to have traveled
+directly to the neighborhood of Walpi. The Snakes allotted them a place
+to build in the valley on the east side of the mesa, and about two miles
+north from the gap. A&nbsp;ridge of rocky knolls and sand dunes lies at the
+foot of the mesa here, and close to the main cliff is a spring. There
+are two prominent knolls about 400 yards apart and the summits of these
+are covered with traces of house walls; also portions of walls can be
+discerned on all the intervening hummocks. The place is known as
+Sikyátki,
+<a name="page021" id="page021"> </a>
+the yellow-house, from the color of the sandstone of which the houses
+were built. These and other fragmentary bits have walls not over a foot
+thick, built of small stones dressed by rubbing, and all laid in mud;
+the inside of the walls also show a smooth coating of mud plaster. The
+dimensions of the rooms are very small, the largest measuring 9½ feet
+long, by 4½ feet wide. It is improbable that any of these structures
+were over two stories high, and many of them were built in excavated
+places around the rocky summits of the knolls. In these instances no
+rear wall was built; the partition walls, radiating at irregular angles,
+abut against the rock itself. Still, the great numbers of these houses,
+small as they were, must have been far more than the Fire-people could
+have required, for the oval house which they abandoned measures not more
+than a hundred feet by fifty. Probably other incoming gentes, of whom no
+story has been preserved, had also the ill fate to build there, for the
+Walpi people afterward slew all its inhabitants.</p>
+
+<p>There is little or no detail in the legends of the Bear people as to
+their life in Antelope Canyon; they can now distinguish only one ruin
+with certainty as having been occupied by their ancestors, while to all
+the other ruins fanciful names have been applied. Nor is there any
+special cause mentioned for abandoning their dwellings there; probably,
+however, a&nbsp;sufficient reason was the cessation of springs in their
+vicinity. Traces of former large springs are seen at all of them, but no
+water flows from them at the present time. Whatever their motive, the
+Bears left Antelope <ins class="correction"
+title="text reads ‘Cañyon’">Canyon</ins>,
+and moved over to the village of Walpi, on the
+terrace below the point of the mesa. They were received kindly there,
+and were apparently placed on an equal footing with the Walpi, for it
+seems the Snake, Horn, and Bear have always been on terms of friendship.
+They built houses at that village, and lived there for some considerable
+time; then they moved a short distance and built again almost on the
+very point of the mesa. This change was not caused by any disagreement
+with their neighbors; they simply chose that point as a suitable place
+on which to build all their houses together. The site of this Bear house
+is called Kisákobi, the obliterated house, and the name is very
+appropriate, as there is merely the faintest trace here and there to
+show where a building stood, the stones having been used in the
+construction of the modern Walpi. These two villages were quite close
+together, and the subsequent construction of a few additional groups of
+rooms almost connected them, so that they were always considered and
+spoken of as one.</p>
+
+<p>It was at this period, while Walpi was still on this lower site, that
+the Spaniards came into the country. They met with little or no
+opposition, and their entrance was marked by no great disturbances. No
+special tradition preserves any of the circumstances of this event;
+these first coming Spaniards being only spoken of as the “Kast´ilumuh
+who wore iron garments, and came from the south,” and this brief mention
+may be accounted for by the fleeting nature of these early visits.</p>
+
+<p>The zeal of the Spanish priests carried them everywhere throughout
+<a name="page022" id="page022"> </a>
+their newly acquired territory, and some time in the seventeenth century
+a band of missionary monks found their way to Tusayan. They were
+accompanied by a few troops to impress the people with a due regard for
+Spanish authority, but to display the milder side of their mission, they
+also brought herds of sheep and cattle for distribution. At first these
+were herded at various springs within a wide radius around the villages,
+and the names still attaching to these places memorize the introduction
+of sheep and cattle to this region. The Navajo are first definitely
+mentioned in tradition as occupants of this vicinity in connection with
+these flocks and herds, in the distribution of which they gave much
+undesirable assistance by driving off the larger portion to their own
+haunts.</p>
+
+<p>The missionaries selected Awatubi, Walpi, and Shumopavi as the sites
+for their mission buildings, and at once, it is said, began to introduce
+a system of enforced labor. The memory of the mission period is held in
+great detestation, and the onerous toil the priests imposed is still
+adverted to as the principal grievance. Heavy pine timbers, many of
+which are now pointed out in the kiva roofs, of from 15 to 20 feet in
+length and a foot or more in diameter, were cut at the San Francisco
+Mountain, and gangs of men were compelled to carry and drag them to the
+building sites, where they were used as house beams. This necessitated
+prodigious toil, for the distance by trail is a hundred miles, most of
+the way over a rough and difficult country. The Spaniards are said to
+have employed a few ox teams in this labor, but the heaviest share was
+performed by the impressed Hopituh, who were driven in gangs by the
+Spanish soldiers, and any who refused to work were confined in a prison
+house and starved into submission.</p>
+
+<p>The “men with the long robes,” as the missionaries were called, are
+said to have lived among these people for a long time, but no trace of
+their individuality survives in tradition.</p>
+
+<p>Possibly the Spanish missionaries may have striven to effect some
+social improvement among these people, and by the adoption of some harsh
+measures incurred the jealous anger of the chiefs. But the system of
+labor they enforced was regarded, perhaps justly, as the introduction of
+serfdom, such as then prevailed in the larger communities in the Rio
+Grande valleys. Perhaps tradition belies them; but there are many
+stories of their evil, sensual lives&mdash;assertions that they violated
+women, and held many of the young girls at their mission houses, not as
+pupils, but as concubines.</p>
+
+<p>In any case, these hapless monks were engaged in a perilous mission
+in seeking to supplant the primitive faith of the Tusayan, for among the
+native priests they encountered prejudices even as violent as their own.
+With too great zeal they prohibited the sacred dances, the votive
+offerings to the nature-deities, and similar public observances, and
+strove to suppress the secret rites and abolish the religious orders and
+societies. But these were too closely incorporated with the system of
+gentes and
+<a name="page023" id="page023"> </a>
+other family kinships to admit of their extinction. Traditionally, it is
+said that, following the discontinuance of the prescribed ceremonies,
+the favor of the gods was withdrawn, the clouds brought no rain, and the
+fields yielded no corn. Such a coincidence in this arid region is by no
+means improbable, and according to the legends, a&nbsp;succession of dry
+seasons resulting in famine has been of not infrequent occurrence. The
+superstitious fears of the people were thus aroused, and they cherished
+a mortal hatred of the monks.</p>
+
+<p>In such mood were they in the summer of 1680, when the village
+Indians rose in revolt, drove out the Spaniards, and compelled them to
+retreat to Mexico. There are some dim traditions of that event still
+existing among the Tusayan, and they tell of one of their own race
+coming from the river region by the way of Zuñi to obtain their
+cooperation in the proposed revolt. To this they consented.</p>
+
+<p>Only a few Spaniards being present at that time, the Tusayan found
+courage to vent their enmity in massacre, and every one of the hated
+invaders perished on the appointed day. The traditions of the massacre
+center on the doom of the monks, for they were regarded as the
+embodiment of all that was evil in Spanish rule, and their pursuit, as
+they tried to escape among the sand dunes, and the mode of their
+slaughter, is told with grim precision; they were all overtaken and
+hacked to pieces with stone tomahawks.</p>
+
+<p>It is told that while the monks were still in authority some of the
+Snake women urged a withdrawal from Walpi, and, to incite the men to
+action, carried their mealing-stones and cooking vessels to the summit
+of the mesa, where they desired the men to build new houses, less
+accessible to the domineering priests. The men followed them, and two or
+three small house groups were built near the southwest end of the
+present village, one of them being still occupied by a Snake family, but
+the others have been demolished or remodeled. A&nbsp;little farther north,
+also on the west edge, the small house clusters there were next built by
+the families of two women called Tji-vwó-wati and Si-kya-tcí-wati.
+Shortly after the massacre the lower village was entirely abandoned, and
+the building material carried above to the point which the Snakes had
+chosen, and on which the modern Walpi was constructed. Several beams of
+the old mission houses are now pointed out in the roofs of the
+kivas.</p>
+
+<p>There was a general apprehension that the Spaniards would send a
+force to punish them, and the Shumopavi also reconstructed their village
+in a stronger position, on a high mesa overlooking its former site. The
+other villages were already in secure positions, and all the smaller
+agricultural settlements were abandoned at this period, and excepting at
+one or two places on the Moen-kopi, the Tusayan have ever since confined
+themselves to the close vicinity of their main villages.</p>
+
+<p>The house masses do not appear to bear any relation to division by
+phratries. It is surprising that even the social division of the
+phratries
+<a name="page024" id="page024"> </a>
+is preserved. The Hopituh certainly marry within phratries, and
+occasionally with the same gens. There is no doubt, however, that in the
+earlier villages each gens, and where practicable, the whole of the
+phratry, built their houses together. To a certain extent the house of
+the priestess of a gens is still regarded as the home of the gens. She
+has to be consulted concerning proposed marriages, and has much to say
+in other social arrangements.</p>
+
+<p>While the village of the Walpi was still upon the west side of the
+mesa point, some of them moved around and built houses beside a spring
+close to the east side of the mesa. Soon after this a dispute over
+planting ground arose between them and the Sikyátki, whose village was
+also on that side of the mesa and but a short distance above them. From
+this time forward bad blood lay between the Sikyátki and the Walpi, who
+took up the quarrel of their suburb. It also happened about that time,
+so tradition says, more of the Coyote people came from the north, and
+the Pikyás nyu-mu, the young cornstalk, who were the latest of the Water
+people, came in from the south. The Sikyátki, having acquired their
+friendship, induced them to build on two mounds, on the summit of the
+mesa overlooking their village. They had been greatly harrassed by the
+young slingers and archers of Walpi, who would come across to the edge
+of the high cliff and assail them with impunity, but the occupation of
+these two mounds by friends afforded effectual protection to their
+village. These knolls are about 40 yards apart, and about 40 feet above
+the level of the mesa which is something over 400 feet above Sikyátki.
+Their roughly leveled summits measure 20 by 10 feet and are covered with
+traces of house walls; and it is evident that groups of small-roomed
+houses were clustered also around the sloping sides. About a hundred
+yards south from their dwellings the people of the mounds built for
+their own protection a strong wall entirely across the mesa, which at
+that point is contracted to about 200 feet in width, with deep vertical
+cliffs on either side. The base of the wall is still quite distinct, and
+is about 3 feet thick.</p>
+
+<p>But no reconciliation was ever effected between the Walpi and the
+Sikyátki and their allies, and in spite of their defensive wall frequent
+assaults were made upon the latter until they were forced to retreat.
+The greater number of them retired to Oraibi and the remainder to
+Sikyátki, and the feud was still maintained between them and the
+Walpi.</p>
+
+<p>Some of the incidents as well as the disastrous termination of this
+feud are still narrated. A&nbsp;party of the Sikyátki went prowling through
+Walpi one day while the men were afield, and among other outrages, one
+of them shot an arrow through a window and killed a chief’s daughter
+while she was grinding corn. The chief’s son resolved to avenge the
+death of his sister, and some time after this went to Sikyátki,
+professedly to take part in a religious dance, in which he joined until
+just before the close of the ceremony. Having previously observed where
+the handsomest girl was seated among the spectators on the house
+terraces,
+<a name="page025" id="page025"> </a>
+he ran up the ladder as if to offer her a prayer emblem, but instead he
+drew out a sharp flint knife from his girdle and cut her throat. He
+threw the body down where all could see it, and ran along the adjoining
+terraces till he cleared the village. A&nbsp;little way up the mesa was a
+large flat rock, upon which he sprang and took off his dancer’s mask so
+that all might recognize him; then turning again to the mesa he sped
+swiftly up the trail and escaped.</p>
+
+<p>And so foray and slaughter continued to alternate between them until
+the planting season of some indefinite year came around. All the
+Sikyátki men were to begin the season by planting the fields of their
+chief on a certain day, which was announced from the housetop by the
+Second Chief as he made his customary evening proclamations, and the
+Walpi, becoming aware of this, planned a fatal onslaught. Every man and
+woman able to draw a bow or wield a weapon were got in readiness and at
+night they crossed the mesa and concealed themselves along its edge,
+overlooking the doomed village. When the day came they waited until the
+men had gone to the field and then rushed down upon the houses. The
+chief, who was too old to go afield, was the first one killed, and then
+followed the indiscriminate slaughter of women and children, and the
+destruction of the houses. The wild tumult in the village alarmed the
+Sikyátki and they came rushing back, but too late to defend their homes.
+Their struggles were hopeless, for they had only their planting sticks
+to use as weapons, which availed but little against the Walpi with their
+bows and arrows, spears, slings, and war clubs. Nearly all of the
+Sikyátki men were killed, but some of them escaped to Oraibi and some to
+Awatubi. A&nbsp;number of the girls and younger women were spared, and
+distributed among the different villages, where they became wives of
+their despoilers.</p>
+
+<p>It is said to have been shortly after the destruction of Sikyátki
+that the first serious inroad of a hostile tribe occurred within this
+region, and all the stories aver that these early hostiles were from the
+north, the Ute being the first who are mentioned, and after them the
+Apache, who made an occasional foray.</p>
+
+<p>While these families of Hopituh stock had been building their
+straggling dwellings along the canyon brinks, and grouping in villages
+around the base of the East Mesa, other migratory bands of Hopituh had
+begun to arrive on the Middle Mesa. As already said, it is admitted that
+the Snake were the first occupants of this region, but beyond that fact
+the traditions are contradictory and confused. It is probable, however,
+that not long after the arrival of the Horn, the Squash people came from
+the south and built a village on the Middle Mesa, the ruin of which is
+called Chukubi. It is on the edge of the cliff on the east side of the
+neck of that mesa, and a short distance south of the direct trail
+leading from Walpi to Oraibi. The Squash people say that they came from
+Palát Kwabi, the Red Land in the far South, and this vague term
+expresses nearly all their knowledge of that traditional land. They say
+they lived
+<a name="page026" id="page026"> </a>
+for a long time in the valley of the Colorado Chiquito, on the south
+side of that stream and not far from the point where the railway crosses
+it. They still distinguish the ruin of their early village there, which
+was built as usual on the brink of a canyon, and call it Etípsíkya,
+after a shrub that grows there profusely. They crossed the river
+opposite that place, but built no permanent houses until they reached
+the vicinity of Chukubi, near which two smaller clusters of ruins, on
+knolls, mark the sites of dwellings which they claim to have been
+theirs. Three groups (nyumu) traveling together were the next to follow
+them; these were the Bear, the Bear-skin-rope, and the Blue Jay. They
+are said to have been very numerous, and to have come from the vicinity
+of San Francisco Mountain. They did not move up to Chukubi, but built a
+large village on the summit, at the south end of the mesa, close to the
+site of the present Mashongnavi. Soon afterward came the Burrowing Owl,
+and the Coyote, from the vicinity of Navajo Mountains in the north, but
+they were not very numerous. They also built upon the Mashongnavi
+summit.</p>
+
+<p>After this the Squash people found that the water from their springs
+was decreasing, and began moving toward the end of the mesa, where the
+other people were. But as there was then no suitable place left on the
+summit, they built a village on the sandy terrace close below it, on the
+west side; and as the springs at Chukubi ultimately ceased entirely, the
+rest of the Squash people came to the terrace and were again united in
+one village. Straggling bands of several other groups, both wingwu and
+nyumu, are mentioned as coming from various directions. Some built on
+the terrace and some found house room in Mashongnavi. This name is
+derived as follows: On the south side of the terrace on which the Squash
+village was built is a high column of sandstone which is vertically
+split in two, and formerly there was a third pillar in line, which has
+long since fallen. These three columns were called Tútuwalha, the
+guardians, and both the Squash village and the one on the summit were so
+named. On the north side of the terrace, close to the present village,
+is another irregular massy pillar of sandstone called Mashóniniptu,
+meaning “the other which remains erect,” having reference to the one on
+the south side, which had fallen. When the Squash withdrew to the summit
+the village was then called Mashóniniptuovi, “at the place of the other
+which remains erect;” now that term is never used, but always its
+syncopated form, Mashongnavi.</p>
+
+<p>The Squash village, on the south end of the Middle Mesa, was attacked
+by a fierce band that came from the north, some say the Ute, others say
+the Apache; but whoever the invaders were, they completely overpowered
+the people, and carried off great stores of food and other plunder. The
+village was then evacuated, the houses dismantled, and the material
+removed to the high summit, where they reconstructed their dwellings
+around the village which thenceforth bore its present name of
+Mashongnavi. Some of the Squash people moved over to Oraibi, and
+portions of the Katchina and Paroquet people came from
+<a name="page027" id="page027"> </a>
+there to Mashongnavi about the same time, and a few of these two groups
+occupied some vacant houses also in Shupaulovi; for this village even at
+that early date had greatly diminished in population, having sustained a
+disastrous loss of men in the canyon affrays east of Walpi.</p>
+
+<p>Shumopavi seems to have been built by portions of the same groups who
+went to the adjacent Mashongnavi, but the traditions of the two villages
+are conflicting. The old traditionists at Shumopavi hold that the first
+to come there were the Paroquet, the Bear, the Bear-skin-rope, and the
+Blue Jay. They came from the west&mdash;probably from San Francisco
+Mountain. They claim that ruins on a mesa bluff about 10 miles south
+from the present village are the remains of a village built by these
+groups before reaching Shumopavi, and the Paroquets arrived first, it is
+said, because they were perched on the heads of the Bears, and, when
+nearing the water, they flew in ahead of the others. These groups built
+a village on a broken terrace, on the east side of the cliff, and just
+below the present village. There is a spring close by called after the
+Shunóhu, a&nbsp;tall red grass, which grew abundantly there, and from which
+the town took its name. This spring was formerly very large, but two
+years ago a landslide completely buried it; lately, however, a&nbsp;small
+outflow is again apparent.</p>
+
+<p>The ruins of the early village cover a hillocky area of about 800 by
+250 feet, but it is impossible to trace much of the ground plan with
+accuracy. The corner of an old house still stands, some 6 or 8 feet
+high, extending about 15 feet on one face and about 10 feet on the
+other. The wall is over 3 feet in thickness, but of very clumsy masonry,
+no care having been exercised in dressing the stones, which are of
+varying sizes and laid in mud plaster. Interest attaches to this
+fragment, as it is one of the few tangible evidences left of the Spanish
+priests who engaged in the fatal mission to the Hopituh in the sixteenth
+century. This bit of wall, which now forms part of a sheep-fold, is
+pointed out as the remains of one of the mission buildings.</p>
+
+<p>Other groups followed&mdash;the Mole, the Spider, and the “Wíksrun.”
+These latter took their name from a curious ornament worn by the men. A
+piece of the leg-bone of a bear, from which the marrow had been
+extracted and a stopper fixed in one end, was attached to the fillet
+binding the hair, and hung down in front of the forehead. This gens and
+the Mole are now extinct.</p>
+
+<p>Shumopavi received no further accession of population, but lost to
+some extent by a portion of the Bear people moving across to Walpi. No
+important event seems to have occurred among them for a long period
+after the destruction of Sikyátki, in which they bore some part, and
+only cursory mention is made of the ingress of “enemies from the north;”
+but their village, apparently, was not assailed.</p>
+
+<p>The Oraibi traditions tend to confirm those of Shumopavi, and tell
+that the first houses there were built by Bears, who came from the
+latter place. The following is from a curious legend of the early
+settlement:</p>
+
+<p>
+<a name="page028" id="page028"> </a>
+The Bear people had two chiefs, who were brothers; the elder was called
+Vwen-ti-só-mo, and the younger Ma-tcí-to. They had a desperate quarrel
+at Shumopavi, and their people divided into two factions, according as
+they inclined to one or other of the contestants. After a long period of
+contention Ma-tcí-to and his followers withdrew to the mesa where Oraibi
+now stands, about 8 miles northwest from Shumopavi, and built houses a
+little to the southwest of the limits of the present town. These houses
+were afterwards destroyed by “enemies from the north,” and the older
+portion of the existing town, the southwest ends of the house rows, were
+built with stones from the demolished houses. Fragments of these early
+walls are still occasionally unearthed.</p>
+
+<p>After Ma-tcí-to and his people were established there, whenever any
+of the Shumopavi people became dissatisfied with that place they built
+at Oraibi, Ma-tcí-to placed a little stone monument about halfway
+between these two villages to mark the boundary of the land.
+Vwenti-so´-mo objected to this, but it was ultimately accepted with the
+proviso that the village growing the fastest should have the privilege
+of moving it toward the other village. The monument still stands, and is
+on the direct Oraibi trail from Shumopavi, 3&nbsp;miles from the latter. It
+is a well dressed, rectangular block of sandstone, projecting two feet
+above the ground, and measures 8½ by 7 inches. On the end is carved the
+rude semblance of a human head, or mask, the eyes and mouth being merely
+round shallow holes, with a black line painted around them. The stone is
+pecked on the side, but the head and front are rubbed quite smooth, and
+the block, tapering slightly to the base, suggests the ancient Roman
+Termini.</p>
+
+<p>There are Eagle people living at Oraibi, Mashongnavi, and Walpi, and
+it would seem as if they had journeyed for some time with the later
+Snake people and others from the northwest. Vague traditions attach them
+to several of the ruins north of the Moen-kopi, although most of these
+are regarded as the remains of Snake dwellings.</p>
+
+<p>The legend of the Eagle people introduces them from the west, coming
+in by way of the Moen-kopi water course. They found many people living
+in Tusayan, at Oraibi, the Middle Mesa, and near the East Mesa, but the
+Snake village was yet in the valley. Some of the Eagles remained at
+Oraibi, but the main body moved to a large mound just east of
+Mashongnavi, on the summit of which they built a village and called it
+Shi-tái-mu. Numerous traces of small-roomed houses can be seen on this
+mound and on some of the lower surroundings. The uneven summit is about
+300 by 200 feet, and the village seems to have been built in the form of
+an irregular ellipse, but the ground plan is very obscure.</p>
+
+<p>While the Eagles were living at Shi-tái-mu, they sent “Yellow Foot”
+to the mountain in the east (at&nbsp;the headwaters of the Rio Grande) to
+obtain a dog. After many perilous adventures in caverns guarded by bear,
+mountain lion, and rattlesnake, he got two dogs and returned.
+<a name="page029" id="page029"> </a>
+They were wanted to keep the coyotes out of the corn and the gardens.
+The dogs grew numerous, and would go to Mashongnavi in search of food,
+and also to some of the people of that village, which led to serious
+quarrels between them and the Eagle people. Ultimately the Shi-tái-mu
+chief proclaimed a feast, and told the people to prepare to leave the
+village forever. On the feast day the women arranged the food basins on
+the ground in a long line leading out of the village. The people passed
+along this line, tasting a mouthful here or there, but without stopping,
+and when they reached the last basin they were beyond the limits of the
+village. Without turning around they continued on down into the valley
+until they were halted by the Snake people. An arrangement was effected
+with the latter, and the Eagles built their houses in the Snake village.
+A few of the Eagle families who had become attached to Mashongnavi chose
+to go to that village, where their descendants still reside, and are yet
+held as close relatives by the Eagles of Walpi. The land around the East
+Mesa was then portioned out, the Snakes, Horns, Bears, and Eagles each
+receiving separate lands, and these old allotments are still
+approximately maintained.</p>
+
+<p>According to the Eagle traditions the early occupants of Tusayan came
+in the following succession: Snake, Horn, Bear, Middle Mesa, Oraibi, and
+Eagle, and finally from the south came the Water families. This sequence
+is also recognized in the general tenor of the legends of the other
+groups.</p>
+
+<p>Shupaulovi, a&nbsp;small village quite close to Mashongnavi, would seem to
+have been established just before the coming of the Water people. Nor
+does there seem to have been any very long interval between the arrival
+of the earliest occupants of the Middle Mesa and this latest colony.
+These were the Sun people, and like the Squash folk, claim to have come
+from Palátkwabi, the Red Land, in the south. On their northward
+migration, when they came to the valley of the Colorado Chiquito, they
+found the Water people there, with whom they lived for some time. This
+combined village was built upon Homólobi, a&nbsp;round terraced mound near
+Sunset Crossing, where fragmentary ruins covering a wide area can yet be
+traced.</p>
+
+<p>Incoming people from the east had built the large village of Awatubi,
+high rock, upon a steep mesa about nine miles southeast from Walpi. When
+the Sun people came into Tusayan they halted at that village and a few
+of them remained there permanently, but the others continued west to the
+Middle Mesa. At that time also they say Chukubi, Shitaimu, Mashongnavi,
+and the Squash village on the terrace were all occupied, and they built
+on the terrace close to the Squash village also. The Sun people were
+then very numerous and soon spread their dwellings over the summit where
+the ruin now stands, and many indistinct lines of house walls around
+this dilapidated village attest its former size. Like the neighboring
+village, it takes its name from a rock near by,
+<a name="page030" id="page030"> </a>
+which is used as a place for the deposit of votive offerings, but the
+etymology of the term can not be traced.</p>
+
+<p>Some of the Bear people also took up their abode at Shupaulovi, and
+later a nyumu of the Water family called Batni, moisture, built with
+them; and the diminished families of the existing village are still
+composed entirely of these three nyumu.</p>
+
+<p>The next arrivals seem to have been the Asanyumu, who in early days
+lived in the region of the Chama, in New Mexico, at a village called
+Kaékibi, near the place now known as Abiquiu. When they left that region
+they moved slowly westward to a place called Túwii (Santo Domingo),
+where some of them are said to still reside. The next halt was at
+Kaiwáika (Laguna) where it is said some families still remain, and they
+staid also a short time at A´ikoka (Acoma); but none of them remained at
+that place. From the latter place they went to Sióki (Zuñi), where they
+remained a long time and left a number of their people there, who are
+now called Aiyáhokwi by the Zuñi. They finally reached Tusayan by way of
+Awatubi. They had been preceded from the same part of New Mexico by the
+Honan nyumu (the Badger people), whom they found living at the
+last-named village. The Magpie, the Pute Kóhu (Boomerang-shaped hunting
+stick), and the Field-mouse families of the Asa remained and built
+beside the Badger, but the rest of its groups continued across to the
+Walpi Mesa. They were not at first permitted to come up to Walpi, which
+then occupied its present site, but were allotted a place to build at
+Coyote Water, a&nbsp;small spring on the east side of the mesa, just under
+the gap. They had not lived there very long, however, when for some
+valuable services in defeating at one time a raid of the Ute (who used
+to be called the Tcingawúptuh) and of the Navajo at another, they were
+given for planting grounds all the space on the mesa summit from the gap
+to where Sichumovi now stands, and the same width, extending across the
+valley to the east. On the mesa summit they built the early portion of
+the house mass on the north side of the village, now known as Hano. But
+soon after this came a succession of dry seasons, which caused a great
+scarcity of food almost amounting to a famine, and many moved away to
+distant streams. The Asa people went to Túpkabi (Deep Canyon, the de
+Chelly), about 70 miles northeast from Walpi, where the Navajo received
+them kindly and supplied them with food. The Asa had preserved some
+seeds of the peach, which they planted in the canyon nooks, and numerous
+little orchards still flourish there. They also brought the Navajo new
+varieties of food plants, and their relations grew very cordial. They
+built houses along the base of the canyon walls, and dwelt there for two
+or three generations, during which time many of the Asa women were given
+to the Navajo, and the descendants of these now constitute a numerous
+clan among the Navajo, known as the Kiáini, the High-house people.</p>
+
+<p>The Navajo and the Asa eventually quarreled and the latter returned
+to Walpi, but this was after the arrival of the Hano, by whom they
+<a name="page031" id="page031"> </a>
+found their old houses occupied. The Asa were taken into the village of
+Walpi, being given a vacant strip on the east edge of the mesa, just
+where the main trail comes up to the village. The Navajo, Ute, and
+Apache had frequently gained entrance to the village by this trail, and
+to guard it the Asa built a house group along the edge of the cliff at
+that point, immediately overlooking the trail, where some of the people
+still live; and the kiva there, now used by the Snake order, belongs to
+them. There was a crevice in the rock, with a smooth bottom extending to
+the edge of the cliff and deep enough for a ki´koli. A&nbsp;wall was built to
+close the outer edge and it was at first intended to build a dwelling
+house there, but it was afterward excavated to its present size and made
+into a kiva, still called the wikwálhobi, the kiva of the Watchers of
+the High Place. The Walpi site becoming crowded, some of the Bear and
+Lizard people moved out and built houses on the site of the present
+Sichumovi; several Asa families followed them, and after them came some
+of the Badger people. The village grew to an extent considerably beyond
+its present size, when it was abandoned on account of a malignant
+plague. After the plague, and within the present generation, the village
+was rebuilt&mdash;the old houses being torn down to make the new
+ones.</p>
+
+<p>After the Asa came the nest group to arrive was the Water family.
+Their chief begins the story of their migration in this way:</p>
+
+<blockquote>
+<p>
+In the long ago the Snake, Horn, and Eagle people lived here (in&nbsp;Tusayan),
+but their corn grew only a span high, and when they sang for
+rain the cloud god sent only a thin mist. My people then lived in the
+distant Pa-lát Kwá-bi in the South. There was a very bad old man there,
+who, when he met any one, would spit in his face, blow his nose upon
+him, and rub ordure upon him. He ravished the girls and did all manner
+of evil. Baholikonga got angry at this and turned the world upside down,
+and water spouted up through the kivas and through the fireplaces in the
+houses. The earth was rent in great chasms, and water covered everything
+except one narrow ridge of mud; and across this the serpent deity told
+all the people to travel. As they journeyed across, the feet of the bad
+slipped and they fell into the dark water, but the good, after many
+days, reached dry land. While the water was rising around the village
+the old people got on the tops of the houses, for they thought they
+could not struggle across with the younger people; but Baholikonga
+clothed them with the skins of turkeys, and they spread their wings out
+and floated in the air just above the surface of the water, and in this
+way they got across. There were saved of our people Water, Corn, Lizard,
+Horned Toad, Sand, two families of Rabbit, and Tobacco. The turkey tail
+dragged in the water&mdash;hence the white on the turkey tail now.
+Wearing these turkey-skins is the reason why old people have dewlaps
+under the chin like a turkey; it is also the reason why old people use
+turkey-feathers at the religious ceremonies.
+</p>
+</blockquote>
+
+<p>In the story of the wandering of the Water people, many vague
+references are made to various villages in the South, which they
+constructed or dwelt in, and to rocks where they carved their totems at
+temporary halting places. They dwelt for a long time at Homólobi, where
+the Sun people joined them; and probably not long after the latter left
+the Water people followed on after them. The largest number of this
+family seem
+<a name="page032" id="page032"> </a>
+to have made their dwellings first at Mashongnavi and Shupaulovi; but
+like the Sun people they soon spread to all the villages.</p>
+
+<p>The narrative of part of this journey is thus given by the chief
+before quoted:</p>
+
+<blockquote>
+<p>
+It occupied 4 years to cross the disrupted country. The kwakwanti
+(a&nbsp;warrior order) went ahead of the people and carried seed of
+corn, beans, melons, squashes, and cotton. They would plant corn in the
+mud at early morning and by noon it was ripe and thus the people were
+fed. When they reached solid ground they rested, and then they built
+houses. The kwakwanti were always out exploring&mdash;sometimes they
+were gone as long as four years. Again we would follow them on long
+journeys, and halt and build houses and plant. While we were traveling
+if a woman became heavy with child we would build her a house and put
+plenty of food in it and leave her there, and from these women sprang
+the Pima, Maricopa, and other Indians in the South.
+</p>
+</blockquote>
+
+<blockquote>
+<p>
+Away in the South, before we crossed the mountains (south of the Apache
+country) we built large houses and lived there a long while. Near these
+houses is a large rock on which was painted the rain-clouds of the Water
+phratry, also a man carrying corn in his arms; and the other phratries
+also painted the Lizard and the Rabbit upon it. While they were living
+there the kwakwanti made an expedition far to the north and came in
+conflict with a hostile people. They fought day after day, for days and
+days&mdash;they fought by day only and when night came they separated,
+each party retiring to its own ground to rest. One night the cranes came
+and each crane took a kwakwanti on his back and brought them back to
+their people in the South.
+</p>
+</blockquote>
+
+<blockquote>
+<p>
+Again all the people traveled north until they came to the Little
+Colorado, near San Francisco Mountains, and there they built houses up
+and down the river. They also made long ditches to carry the water from
+the river to their gardens. After living there a long while they began
+to be plagued with swarms of a kind of gnat called the sand-fly, which
+bit the children, causing them to swell up and die. The place becoming
+unendurable, they were forced again to resume their travels. Before
+starting, one of the Rain-women, who was big with child, was made
+comfortable in one of the houses on the mountain. She told her people to
+leave her, because she knew this was the place where she was to remain
+forever. She also told them, that hereafter whenever they should return
+to the mountain to hunt she would provide them with plenty of game.
+Under her house is a spring and any sterile woman who drinks of its
+water will bear children. The people then began a long journey to reach
+the summit of the table land on the north. They camped for rest on one
+of the terraces, where there was no water, and they were very tired and
+thirsty. Here the women celebrated the rain-feast&mdash;they danced for
+three days, and on the fourth day the clouds brought heavy rain and
+refreshed the people. This event is still commemorated by a circle of
+stones at that place. They reached a spring southeast from Káibitho
+(Kumás Spring) and there they built a house and lived for some time. Our
+people had plenty of rain and cultivated much corn and some of the Walpi
+people came to visit us. They told ns that their rain only came here and
+there in fine misty sprays, and a basketful of corn was regarded as a
+large crop. So they asked us to come to their land and live with them
+and finally we consented. When we got there we found some Eagle people
+living near the Second Mesa; our people divided, and part went with the
+Eagle and have ever since remained there; but we camped near the First
+Mesa. It was planting time and the Walpi celebrated their rain-feast but
+they brought only a mere misty drizzle. Then we celebrated our
+rain-feast and planted. Great rains and thunder and lightning
+immediately followed and on the first day after planting our corn was
+half an arm’s length high; on the fourth day it was its full height, and
+in one moon it was ripe. When we were going up to the village (Walpi was
+then north of the gap, probably), we were met by a
+<a name="page033" id="page033"> </a>
+Bear man who said that our thunder frightened the women and we must not
+go near the village. Then the kwakwanti said, “Let us leave these people
+and seek a land somewhere else,” but our women said they were tired of
+travel and insisted upon our remaining. Then “Fire-picker” came down
+from the village and told us to come up there and stay, but after we had
+got into the village the Walpi women screamed out against us&mdash;they
+feared our thunder&mdash;and so the Walpi turned us away. Then our
+people, except those who went to the Second Mesa, traveled to the
+northeast as far as the Tsegi (Canyon de Chelly), but I can not tell
+whether our people built the louses there. Then they came hack to this
+region again and built houses and had much trouble with the Walpi, but
+we have lived here ever since.
+</p>
+</blockquote>
+
+<p>Groups of the Water people, as already stated, were distributed among
+all the villages, although the bulk of them remained at the Middle Mesa;
+but it seems that most of the remaining groups subsequently chose to
+build their permanent houses at Oraibi. There is no special tradition of
+this movement; it is only indicated by this circumstance, that in
+addition to the Water families common to every village, there are still
+in Oraibi several families of that people which have no representatives
+in any of the other villages. At a quite early day Oraibi became a place
+of importance, and they tell of being sufficiently populous to establish
+many outlying settlements. They still identify these with ruins on the
+detached mesas in the valley to the south and along the Moen-kopi
+(“place of flowing water”) and other intermittent streams in the west.
+These sites were occupied for the purpose of utilizing cultivable tracts
+of land in their vicinity, and the remotest settlement, about 45 miles
+west, was especially devoted to the cultivation of cotton, the place
+being still called by the Navajo and other neighboring tribes, the
+“cotton planting ground.” It is also said that several of the larger
+ruins along the course of the Moen-kopi were occupied by groups of the
+Snake, the Coyote, and the Eagle who dwelt in that region for a long
+period before they joined the people in Tusayan. The incursions of
+foreign bands from the north may have hastened that movement, and the
+Oraibi say they were compelled to withdraw all their outlying colonies.
+An episode is related of an attack upon the main village when a number
+of young girls were carried off, and 2 or 3 years afterward the same
+marauders returned and treated with the Oraibi, who paid a ransom in
+corn and received all their girls back again. After a quiet interval the
+pillaging bands renewed their attacks and the settlements on the
+Moen-kopi were vacated. They were again occupied after another peace was
+established, and this condition of alternate occupancy and abandonment
+seems to have existed until within quite recent time.</p>
+
+<p>While the Asa were still sojourning in Canyon de Chelly, and before
+the arrival of the Hano, another bloody scene had been enacted in
+Tusayan. Since the time of the Antelope Canyon feuds there had been
+enmity between Awatubi and some of the other villages, especially Walpi,
+and some of the Sikyatki refugees had transmitted their feudal wrongs to
+their descendants who dwelt in Awatubi. They had long been perpetrating
+all manner of offenses; they had intercepted hunting
+<a name="page034" id="page034"> </a>
+parties from the other villages, seized their game, and sometimes killed
+the hunters; they had fallen upon men in outlying corn fields,
+maltreating and sometimes slaying them, and threatened still more
+serious outrage. Awatubi was too strong for Walpi to attack
+single-handed, so the assistance of the other villages was sought, and
+it was determined to destroy Awatubi at the close of a feast soon to
+occur. This was the annual “feast of the kwakwanti,” which is still
+maintained and is held during the month of November by each village,
+when the youths who have been qualified by certain ordeals are admitted
+to the councils. The ceremonies last several days, and on the concluding
+night special rites are held in the kivas. At these ceremonies every man
+must be in the kiva to which he belongs, and after the close of the
+rites they all sleep there, no one being permitted to leave the kiva
+until after sunrise on the following day.</p>
+
+<p>There was still some little intercourse between Awatubi and Walpi,
+and it was easily ascertained when this feast was to be held. On the day
+of its close, the Walpi sent word to their allies “to prepare the war
+arrow and come,” and in the evening the fighting bands from the other
+villages assembled at Walpi, as the foray was to be led by the chief of
+that village. By the time night had fallen something like 150 marauders
+had met, all armed, of course; and of still more ominous import than
+their weapons were the firebrands they carried&mdash;shredded cedar bark
+loosely bound in rolls, resinous splinters of piñon, dry greasewood
+(a&nbsp;furze very easily ignited), and pouches full of pulverized red
+peppers.</p>
+
+<p>Secure in the darkness from observation, the bands followed the Walpi
+chief across the valley, every man with his weapons in hand and a bundle
+of inflammables on his back. Beaching the Awatubi mesa they cautiously
+crept up the steep, winding trail to the summit, and then stole round
+the village to the passages leading to the different courts holding the
+kivas, near which they hid themselves. They waited till just before the
+gray daylight came, then the Walpi chief shouted his war cry and the
+yelling bands rushed to the kivas. Selecting their positions, they were
+at them in a moment, and quickly snatching up the ladders through the
+hatchways, the only means of exit, the doomed occupants were left as
+helpless as rats in a trap. Fire was at hand in the numerous little
+cooking pits, containing the jars of food prepared for the celebrants,
+the inflammable bundles were lit and tossed into the kivas, and the
+piles of firewood on the terraced roofs were thrown down upon the blaze,
+and soon each kiva became a furnace. The red pepper was then cast upon
+the fire to add its choking tortures, while round the hatchways the
+assailants stood showering their arrows into the mass of struggling
+wretches. The fires were maintained until the roofs fell in and buried
+and charred the bones of the victims. It is said that every male of
+Awatubi who had passed infancy perished in the slaughter, not one
+escaping. Such of the women and children as were spared were taken out,
+and all the houses were destroyed, after which the captives were divided
+among the different villages.</p>
+
+<p>
+<a name="page035" id="page035"> </a>
+The date of this last feudal atrocity can be made out with some degree
+of exactness, because in 1692, Don Diego Vargas with a military force
+visited Tusayan and mentions Awatubi as a populous village at which he
+made some halt. The Hano (Tewa) claim that they have lived in Tusayan
+for five or six generations, and that when they arrived there was no
+Awatubi in existence; hence it must have been destroyed not long after
+the close of the seventeenth century.</p>
+
+<p>Since the destruction of Awatubi only one other serious affray has
+occurred between the villages; that was between Oraibi and Walpi. It
+appears that after the Oraibi withdrew their colonies from the south and
+west they took possession of all the unoccupied planting grounds to the
+east of the village, and kept reaching eastward till they encroached
+upon some land claimed by the Walpi. This gave rise to intermittent
+warfare in the outlying fields, and whenever the contending villagers
+met a broil ensued, until the strife culminated in an attack upon Walpi.
+The Oraibi chose a day when the Walpi men were all in the field on the
+east side of the mesa, but the Walpi say that their women and dogs held
+the Oraibi at bay until the men came to the rescue. A&nbsp;severe battle was
+fought at the foot of the mesa, in which the Oraibi were routed and
+pursued across the Middle Mesa, where an Oraibi chief turned and
+implored the Walpi to desist. A&nbsp;conciliation was effected there, and
+harmonious relations have ever since existed between them. Until within
+a few years ago the spot where they stayed pursuit was marked by a
+stone, on which a shield and a dog were depicted, but it was a source of
+irritation to the Oraibi and it was removed by some of the Walpi.</p>
+
+<p>In the early part of the eighteenth century the Ute from the north,
+and the Apache from the south made most disastrous inroads upon the
+villages, in which Walpi especially suffered. The Navajo, who then lived
+upon their eastern border, also suffered severely from the same bands,
+but the Navajo and the Tusayan were not on the best terms and never made
+any alliance for a common defense against these invaders.</p>
+
+<p>Hano was peopled by a different linguistic stock from that of the
+other villages&mdash;a stock which belongs to the Rio Grande group.
+According to Polaka, the son of the principal chief, and himself an
+enterprising trader who has made many journeys to distant
+localities&mdash;and to others, the Hano once lived in seven villages on
+the Rio Grande, and the village in which his forefathers lived was
+called Tceewáge. This, it is said, is the same as the present Mexican
+village of Peña Blanca.</p>
+
+<p>The Hano claim that they came to Tusayan only after repeated
+solicitation by the Walpi, at a time when the latter were much harassed
+by the Ute and Apache. The story, as told by Kwálakwai, who lives in
+Hano, but is not himself a Hano, begins as follows:</p>
+
+<blockquote>
+<p>
+<ins class="correction" title="text has open quote">Long</ins> ago
+the Hopi´tuh were few and were continually harassed by the Yútamo (Ute),
+Yuíttcemo (Apache), and Dacábimo (Navajo). The chiefs of the Tcuin nyumu
+(Snake people) and the Hánin nyumu (Bear people) met together and made
+the ba´ho (sacred plume stick) and sent it with a man from each of these
+people to the house of the Tewa, called Tceewádigi, which was far off on
+the Múina (river) near Alavia (<ins class="correction"
+title="text reads ‘Sante’">Santa</ins>&nbsp;Fé).
+</p>
+</blockquote>
+
+<p>
+<a name="page036" id="page036"> </a>
+The messengers did not succeed in persuading the Tewa to come and the
+embassy was sent three times more. On the fourth visit the Tewa
+consented to come, as the Walpi had offered to divide their land and
+their waters with them, and set out for Tusayan, led by their own chief,
+the village being left in the care of his son. This first band is said
+to have consisted of 146 women, and it was afterwards followed by
+another and perhaps others.</p>
+
+<p>Before the Hano arrived there had been a cessation of hostile
+inroads, and the Walpi received them churlishly and revoked their
+promises regarding the division of land and waters with them. They were
+shown where they could build houses for themselves on a yellow sand
+mound on the east side of the mesa just below the gap. They built there,
+but they were compelled to go for their food up to Walpi. They could get
+no vessels to carry their food in, and when they held out their hands
+for some the Walpi women mockingly poured out hot porridge and scalded
+the fingers of the Hano.</p>
+
+<p>After a time the Ute came down the valley on the west side of the
+mesa, doing great harm again, and drove off the Walpi flocks andiron
+Then the Hano got ready for war; they tied buckskins around their loins,
+whitened their legs with clay, and stained their body and arms with dark
+red earth (ocher). They overtook the Ute near Wípho (about 3 miles north
+from Hano), but the Ute had driven the flocks up the steep mesa side,
+and when they saw the Tewa coming they killed all the sheep and piled
+the carcasses up for a defense, behind which they lay down. They had a
+few firearms also, while the Hano had only clubs and bows and arrows;
+but after some fighting the Ute were driven out and the Tewa followed
+after them. The first Ute was killed a short distance beyond, and a
+stone heap still (?) marks the spot. Similar heaps marked the places
+where other Ute were killed as they fled before the Hano, but not far
+from the San Juan the last one was killed.</p>
+
+<p>Upon the return of the Hano from this successful expedition they were
+received gratefully and allowed to come up on the mesa to live&mdash;the
+old houses built by the Asa, in the present village of Hano, being
+assigned to them. The land was then divided, an imaginary line between
+Hano and Sichumovi, extending eastward entirely across the valley,
+marked the southern boundary, and from this line as far north as the
+spot where the last Utah was killed was assigned to the Hano as their
+possession.</p>
+
+<blockquote>
+<p>
+When the Hano first came the Walpi said to them, “let us spit in your
+mouths, and you will learn our tongue,” and to this the Hano consented.
+When the Hano came up and built on the mesa they said to the Walpi, “let
+us spit in your mouths and you will learn our tongue,” but the Walpi
+would not listen to this, saying it would make them vomit. This is the
+reason why all the Hano can talk Hopí, and none of the Hopítuh can talk
+Hano.
+</p>
+</blockquote>
+
+<p>The Asa and the Hano were close friends while they dwelt in New
+Mexico, and when they came to this region both of them were called
+Hánomuh by the other people of Tusayan. This term signifies the mode in
+which the women of these people wear their hair, cut off in front on a
+line with
+<a name="page037" id="page037"> </a>
+the mouth and carelessly parted or hanging over the face, the back hair
+rolled up in a compact queue at the nape of the neck. This uncomely
+fashion prevails with both matron, and maid, while among the other
+Tusayan the matron parts her hair evenly down the head and wears it
+hanging in a straight queue on either side, the maidens wearing theirs
+in a curious discoid arrangement over each temple.</p>
+
+<p>Although the Asa and the Hano women have the same peculiar fashion of
+wearing the hair, still there is no affinity of blood claimed between
+them. The Asa speak the same language as the other Tusayan, but the Tewa
+(Hano) have a quite distinct language which belongs to the Tañoan stock.
+They claim that the occupants of the following pueblos, in the same
+region of the Rio Grande, are of their people and speak the same
+tongue.</p>
+
+<table class="text" summary="list of names">
+<tr>
+<td>Kótite</td>
+<td>Cochití (?).</td>
+<td>Kápung</td>
+<td>Santa Clara (?)</td>
+</tr>
+<tr>
+<td>Númi</td>
+<td>Nambé.</td>
+<td>Pokwádi</td>
+<td>Pojoaque.</td>
+</tr>
+<tr>
+<td>Ohke</td>
+<td>San Juan.</td>
+<td>Tetsógi</td>
+<td>Tesuque.</td>
+</tr>
+<tr>
+<td>Posówe</td>
+<td class="rightpad">(Doubtless&nbsp;extinct.)</td>
+<td class="center" colspan="2">Also half of Taos.</td>
+</tr>
+</table>
+
+<p>Pleasant relations existed for some time, but the Walpi again grew
+ill-tempered; they encroached upon the Hano planting grounds and stole
+their property. These troubles increased, and the Hano moved away from
+the mesa; they crossed the west valley and built temporary shelters.
+They sent some men to explore the land on the westward to find a
+suitable place for a new dwelling. These scouts went to the Moen-kopi,
+and on returning, the favorable story they told of the land they had
+seen determined the Tewa to go there.</p>
+
+<p>Meanwhile some knowledge of these troubles had reached Tceewádigi,
+and a party of the Tewa came to Tusayan to take their friends back. This
+led the Hopituh to make reparation, which restored the confidence of the
+Hano, and they returned to the mesa, and the recently arrived party were
+also induced to remain. Yet even now, when the Hano (Tewa) go to visit
+their people on the river, the latter beseech them to come back, but the
+old Tewa say, “we shall stay here till our breath leaves us, then surely
+we shall go back to our first home to live forever.”</p>
+
+<p>The Walpi for a long time frowned down all attempts on the part of
+the Hano to fraternize; they prohibited intermarriages, and in general
+tabued the Hano. Something of this spirit was maintained until quite
+recent years, and for this reason the Hano still speak their own
+language, and have preserved several distinctive customs, although now
+the most friendly relations exist among all the villages. After the Hano
+were quietly established in their present position the Asa returned, and
+the Walpi allotted them a place to build in their own village. As before
+mentioned, the house mass on the southeast side of Walpi, at the head of
+the trail leading up to the village at that point, is still occupied by
+Asa families, and their tenure of possession was on the condition that
+they should always defend that point of access and guard the south end
+<a name="page038" id="page038"> </a>
+of the village. Their kiva is named after this circumstance as that of
+“the Watchers of the High Place.”</p>
+
+<p>Some of the Bear and Lizard families being crowded for building
+space, moved from Walpi and built the first houses on the site of the
+present village of Sichumovi, which is named from the Sivwapsi, a&nbsp;shrub
+which formerly grew there on some mounds (chumo).</p>
+
+<p>This was after the Asa had been in Walpi for some time; probably
+about 125 years ago. Some of the Asa, and the Badger, the latter
+descendants of women saved from the Awatubi catastrophe, also moved to
+Sichumovi, but a plague of smallpox caused the village to be abandoned
+shortly afterward. This pestilence is said to have greatly reduced the
+number of the Tusayan, and after it disappeared there were many vacant
+houses in every village. Sichumovi was again occupied by a few Asa
+families, but the first houses were torn down and new ones constructed
+from them.</p>
+
+
+<h5 class="section"><a name="chapI_3" id="chapI_3">
+LIST OF TRADITIONARY GENTES.</a></h5>
+
+<p>In the following table the early phratries (nyu-mu) are arranged in
+the order of their arrival, and the direction from which each came is
+given, except in the case of the Bear people. There are very few
+representatives of this phratry existing now, and very little tradition
+extant concerning its early history. The table does not show the
+condition of these, organizations in the present community but as they
+appear in the traditional accounts of their coming to Tusayan, although
+representatives of most of them can still be found in the various
+villages. There are, moreover, in addition to these, many other gentes
+and sub-gentes of more recent origin. The subdivision, or rather the
+multiplication of gentes may be said to be a continuous process; as, for
+example, in “corn” can be found families claiming to be of the root,
+stem, leaf, ear, blossom, etc., all belonging to corn; but there may be
+several families of each of these components constituting district
+sub-gentes. At present there are really but four phratries recognized
+among the Hopituh, the Snake, Horn, Eagle, and Rain, which is
+indifferently designated as Water or Corn:</p>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td colspan="3">
+1. Ho´-nan&mdash;Bear.</td>
+</tr>
+<tr>
+<td>&nbsp;&nbsp;&nbsp;</td>
+<td>Ho´-nan</td>
+<td>Bear.</td>
+</tr>
+<tr>
+<td></td>
+<td>Ko´-kyañ-a</td>
+<td>Spider.</td>
+</tr>
+<tr>
+<td></td>
+<td>Tco´-zir</td>
+<td>Jay.</td>
+</tr>
+<tr>
+<td></td>
+<td>He´k-pa</td>
+<td>Fir.</td>
+</tr>
+<tr>
+<td colspan="3"><p>
+2. Tcu´-a&mdash;Rattlesnake&mdash;from the west and north.</p></td>
+</tr>
+<tr>
+<td></td>
+<td>Tcu´-a</td>
+<td>Rattlesnake.</td>
+</tr>
+<tr>
+<td></td>
+<td>Yu´ñ-ya</td>
+<td>Cactus&mdash;opuntia.</td>
+</tr>
+<tr>
+<td></td>
+<td>Pü´n-e</td>
+<td>Cactus, the species that grows in dome-like masses.</td>
+</tr>
+<tr>
+<td></td>
+<td>Ü´-se</td>
+<td>Cactus, candelabra, or branching stemmed species.</td>
+</tr>
+<tr>
+<td></td>
+<td>He´-wi</td>
+<td>Dove.</td>
+</tr>
+<tr>
+<td></td>
+<td>Pi-vwa´ni</td>
+<td>Marmot.</td>
+</tr>
+<tr>
+<td></td>
+<td>Pi´h-tca</td>
+<td>Skunk.</td>
+</tr>
+<tr>
+<td></td>
+<td>Ka-la´-ci-au-u</td>
+<td>Raccoon.</td>
+</tr>
+<tr>
+<td colspan="3"><p>
+3. A´-la&mdash;Horn&mdash;from the east.</p></td>
+</tr>
+<tr>
+<td></td>
+<td>So´-wiñ-wa</td>
+<td>Deer.</td>
+</tr>
+<tr>
+<td></td>
+<td>Tc´ib-io</td>
+<td>Antelope.</td>
+</tr>
+<tr>
+<td></td>
+<td>Pa´ñ-wa</td>
+<td>Mountain sheep.</td>
+</tr>
+<tr>
+<td colspan="3"><p>
+<a name="page039" id="page039"> </a>
+4. Kwa´-hü&mdash;Eagle&mdash;from the west and south.</p></td>
+</tr>
+<tr>
+<td></td>
+<td>Kwa´-hü</td>
+<td>Eagle.</td>
+</tr>
+<tr>
+<td></td>
+<td>Kwa´-yo</td>
+<td>Hawk.</td>
+</tr>
+<tr>
+<td></td>
+<td>Mas-si´ kwa´-yo</td>
+<td>Chicken hawk.</td>
+</tr>
+<tr>
+<td></td>
+<td>Tda´-wa</td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td></td>
+<td>Ka-ha´-bi</td>
+<td>Willow.</td>
+</tr>
+<tr>
+<td></td>
+<td>Te´-bi</td>
+<td>Greasewood.</td>
+</tr>
+<tr>
+<td colspan="3"><p>
+5. Ka-tci´-na&mdash;Sacred, dancer&mdash;from the east.</p></td>
+</tr>
+<tr>
+<td></td>
+<td>Ka-tci´-na</td>
+<td>Sacred dancer.</td>
+</tr>
+<tr>
+<td></td>
+<td>Gya´-zro</td>
+<td>Parroquet.</td>
+</tr>
+<tr>
+<td></td>
+<td>Uñ-wu´-si</td>
+<td>Raven.</td>
+</tr>
+<tr>
+<td></td>
+<td>Si-kya´-tci</td>
+<td>Yellow bird.</td>
+</tr>
+<tr>
+<td></td>
+<td>Si-he´-bi</td>
+<td>Cottonwood.</td>
+</tr>
+<tr>
+<td></td>
+<td>Sa-la´-bi</td>
+<td>Spruce.</td>
+</tr>
+<tr>
+<td colspan="3"><p>
+6. A´sa&mdash;a plant (unknown)&mdash;from the Chama.</p></td>
+</tr>
+<tr>
+<td></td>
+<td>A´sa</td>
+<td></td>
+</tr>
+<tr>
+<td></td>
+<td>Tca´-kwai-na</td>
+<td>Black earth Katcina.</td>
+</tr>
+<tr>
+<td></td>
+<td>Pu´tc-ko-hu</td>
+<td>Boomerang hunting stick.</td>
+</tr>
+<tr>
+<td></td>
+<td>Pi´-ca</td>
+<td>Field mouse.</td>
+</tr>
+<tr>
+<td></td>
+<td>Hoc´-bo-a</td>
+<td>Road runner, or chaparral cock.</td>
+</tr>
+<tr>
+<td></td>
+<td>Po-si´-o</td>
+<td>Magpie.</td>
+</tr>
+<tr>
+<td></td>
+<td>Kwi´ñobi</td>
+<td>Oak.</td>
+</tr>
+<tr>
+<td colspan="3"><p>
+7. Ho-na´-ni&mdash;Badger&mdash;from the east.</p></td>
+</tr>
+<tr>
+<td></td>
+<td>Ho-na´-ni</td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td></td>
+<td>Müñ-ya´u-wu</td>
+<td>Porcupine.</td>
+</tr>
+<tr>
+<td></td>
+<td>Wu-so´-ko</td>
+<td>Vulture.</td>
+</tr>
+<tr>
+<td></td>
+<td>Bu´-li</td>
+<td>Butterfly.</td>
+</tr>
+<tr>
+<td></td>
+<td>Bu-li´-so</td>
+<td>Evening primrose.</td>
+</tr>
+<tr>
+<td></td>
+<td>Na´-hü</td>
+<td>Medicine of all kinds; generic.</td>
+</tr>
+<tr>
+<td colspan="3"><p>
+8. Yo´-ki&mdash;Rain&mdash;from the south.</p></td>
+</tr>
+<tr>
+<td></td>
+<td>Yo´-ki</td>
+<td>Rain.</td>
+</tr>
+<tr>
+<td></td>
+<td>O´-mau</td>
+<td>Cloud.</td>
+</tr>
+<tr>
+<td></td>
+<td>Ka´i-e</td>
+<td>Corn.</td>
+</tr>
+<tr>
+<td></td>
+<td>Mu´r-zi-bu-si</td>
+<td>Bean.</td>
+</tr>
+<tr>
+<td></td>
+<td>Ka-wa´i-ba-tuñ-a</td>
+<td>Watermelon.</td>
+</tr>
+<tr>
+<td></td>
+<td>Si-vwa´-pi</td>
+<td>Bigelovia graveolens.</td>
+</tr>
+</table>
+
+<p>The foregoing is the Water or Rain phratry proper, but allied to them
+are the two following phratries, who also came to this region with the
+Water phratry.</p>
+
+<table class="inline text" summary="list of names">
+<tr>
+<th colspan="3">
+LIZARD.</th>
+</tr>
+<tr>
+<td>&nbsp;&nbsp;&nbsp;</td>
+<td>Ka´-kü-tci</td>
+<td class="leftline middle" rowspan="4">Species of lizards.</td>
+</tr>
+<tr>
+<td></td>
+<td>Ba-tci´p-kwa-si</td>
+<!--<td></td>-->
+</tr>
+<tr>
+<td></td>
+<td>Na´-nan-a-wi</td>
+<!--<td></td>-->
+</tr>
+<tr>
+<td></td>
+<td>Mo´-mo-bi</td>
+<!--<td></td>-->
+</tr>
+<tr>
+<td></td>
+<td>Pi´-sa</td>
+<td>White sand.</td>
+</tr>
+<tr>
+<td></td>
+<td>Tdu´-wa</td>
+<td>Red sand.</td>
+</tr>
+<tr>
+<td></td>
+<td>Ten´-kai</td>
+<td>Mud.</td>
+</tr>
+<tr>
+<th colspan="3">
+RABBIT.</th>
+</tr>
+<tr>
+<td></td>
+<td>So´-wi</td>
+<td>Jackass rabbit.</td>
+</tr>
+<tr>
+<td></td>
+<td>Tda´-bo</td>
+<td>Cottontail rabbit.</td>
+</tr>
+<tr>
+<td></td>
+<td>Pi´-ba</td>
+<td>Tobacco.</td>
+</tr>
+<tr>
+<td></td>
+<td>Tcoñ-o</td>
+<td>Pipe.</td>
+</tr>
+</table>
+
+<p>Polaka gives the following data:</p>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td colspan="5">
+Te´-wa gentes and phratries.</td>
+</tr>
+<tr>
+<td>&nbsp;&nbsp;&nbsp;</td>
+<td><i>Tewa</i></td>
+<td><i>Hopi´tuh</i></td>
+<td><i>Navajo.</i></td>
+<td></td>
+</tr>
+<tr>
+<td></td>
+<td class="rightline">Ko´<sup>n</sup>-lo</td>
+<td>Ka´-ai</td>
+<td>Nata´<sup>n</sup></td>
+<td>Corn.</td>
+</tr>
+<tr>
+<td></td>
+<td class="rightline">Cä</td>
+<td>Pi´-ba</td>
+<td>Na´-to</td>
+<td>Tobacco.</td>
+</tr>
+<tr>
+<td class="filler" colspan="5">&nbsp;</td>
+</tr>
+<tr>
+<td></td>
+<td class="rightline">Ke</td>
+<td>Ho´-nau</td>
+<td>Cac</td>
+<td>Bear.</td>
+</tr>
+<tr>
+<td></td>
+<td class="rightline">Tce´-li</td>
+<td>Ca´-la-bi</td>
+<td>Ts´-co</td>
+<td>Spruce.</td>
+</tr>
+<tr>
+<td class="filler" colspan="5">&nbsp;</td>
+</tr>
+<tr>
+<td></td>
+<td class="rightline">Ke´gi</td>
+<td>Ki´-hu</td>
+<td>Ki-a´-ni</td>
+<td>House.</td>
+</tr>
+<tr>
+<td></td>
+<td class="rightline">Tuñ</td>
+<td>Tda´-wu</td>
+<td>Tjon-a-ai´</td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="filler" colspan="5">&nbsp;</td>
+</tr>
+<tr>
+<td></td>
+<td class="rightline">O´-ku-wuñ</td>
+<td>O´-mau</td>
+<td>Kus</td>
+<td>Cloud.</td>
+</tr>
+<tr>
+<td></td>
+<td class="rightline">Nuñ</td>
+<td>Tcu´-kai</td>
+<td>Huc-klic</td>
+<td>Mud.</td>
+</tr>
+</table>
+
+<p>The gentes bracketed are said to “belong together,” but do not seem
+to have distinctive names&mdash;as phratries.</p>
+
+<p>
+<a name="page040" id="page040"> </a>
+</p>
+
+<h5 class="section"><a name="chapI_4" id="chapI_4">
+SUPPLEMENTARY LEGEND.</a></h5>
+
+<p>An interesting ruin which occurs on a mesa point a short distance
+north of Mashongnavi is known to the Tusayan under the name of Payupki.
+There are traditions and legends concerning it among the Tusayan, but
+the only version that could be obtained is not regarded by the writer as
+being up to the standard of those incorporated in the “Summary” and it
+is therefore given separately, as it has some suggestive value. It was
+obtained through Dr. Jeremiah Sullivan, then resident in Tusayan.</p>
+
+<p>The people of Payupki spoke the same language as those on the first
+mesa (Walpi). Long ago they lived in the north, on the San Juan, but
+they were compelled to abandon that region and came to a place about 20
+miles northwest from Oraibi. Being compelled to leave there, they went
+to Canyon de Chelly, where a band of Indians from the southeast joined
+them, with whom they formed an alliance. Together the two tribes moved
+eastward toward the Jemez Mountains, whence they drifted into the valley
+of the Rio Grande. There they became converts to the fire-worship then
+prevailing, but retained their old customs and language. At the time of
+the great insurrection (of&nbsp;1680) they sheltered the native priests that
+were driven from some of the Rio Grande villages, and this action
+created such distrust and hatred among the people that the Payupki were
+forced to leave their settlement. Their first stop was at Old Laguna
+(12&nbsp;miles east of the modern village) and they had with them then some 35 or
+40 of the priests. After leaving Laguna they came to Bear Spring (Fort
+Wingate) and had a fight there with the Apache, whom they defeated. They
+remained at Bear Spring for several years, until the Zuñi compelled them
+to move. They then attempted to reach the San Juan, but were deceived in
+the trail, turned to the west and came to where Pueblo Colorado is now
+(the present post-office of Ganado, between Fort Defiance and Keam’s
+Canyon). They remained there a long time, and through their success in
+farming became so favorably known that they were urged to come farther
+west. They refused, in consequence of which some Tusayan attacked them.
+They were captured and brought to Walpi (then on the point) and
+afterwards they were distributed among the villages. Previous to this
+capture the priests had been guiding them by feathers, smoke, and signs
+seen in the fire. When the priest’s omens and oracles had proved false
+the people were disposed to kill them, but the priests persuaded them to
+let it depend on a test case&mdash;offering to kill themselves in the
+event of failure. So they had a great feast at Awatubi. The priests had
+long, hollow reeds inclosing various substances&mdash;feathers, flour,
+corn-pollen, sacred water, native tobacco (piba), corn, beans, melon
+seeds, etc., and they formed in a circle at sunrise on the plaza and had
+their incantations and prayers. As the sun rose a priest stepped forth
+before the people and blew through his reed, desirous of blowing
+<a name="page041" id="page041"> </a>
+that which was therein away from him, to scatter it abroad. But the wind
+would not blow and the contents of the reed fell to the ground. The
+priests were divided into groups, according to what they carried. In the
+evening all but two groups had blown. Then the elder of the twain turned
+his back eastward, and the reed toward the setting sun, and he blew, and
+the wind caught the feather and carried it to the west. This was
+accepted as a sign and the next day the Tusayan freed the slaves, giving
+each a blanket with corn in it. They went to the mesa where the ruin now
+stands and built the houses there. They asked for planting grounds, and
+fields were given them; but their crops did not thrive, and they stole
+corn from the Mashongnavi. Then, fearful lest they should be surprised
+at night, they built a wall as high as a man’s head about the top of
+their mesa, and they had big doorways, which they closed and fastened at
+night. When they were compelled to plant corn for themselves they
+planted it on the ledges of the mesa, but it grew only as high as a
+man’s knees; the leaves were very small and the grains grew only on one
+side of it. After a time they became friendly with the Mashongnavi
+again, and a boy from that village conceived a passion for a Payupki
+girl. The latter tribe objected to a marriage but the Mashongnavi were
+very desirous for it and some warriors of that village proposed if the
+boy could persuade the girl to fly with him, to aid and protect him. On
+an appointed day, about sundown, the girl came down from the mesa into
+the valley, but she was discovered by some old women who were baking
+pottery, who gave the alarm. Hearing the noise a party of the
+Mashongnavi, who were lying in wait, came up, but they encountered a
+party of the Payupki who had come out and a fight ensued. During the
+fight the young man was killed; and this caused so much bitterness of
+feeling that the Payupki were frightened, and remained quietly in their
+pueblo for several days. One morning, however, an old woman came over to
+Mashongnavi to borrow some tobacco, saying that they were going to have
+a dance in her village in five days. The next day the Payupki quietly
+departed. Seeing no smoke from the village the Mashongnavi at first
+thought that the Payupki were preparing for their dance, but on the
+third day a band of warriors was sent over to inquire and they found the
+village abandoned. The estufas and the houses of the priests were pulled
+down.</p>
+
+<p>The narrator adds that the Payupki returned to San Felipe whence they
+came.</p>
+
+<p>
+<a name="page042" id="page042"> </a>
+</p>
+
+<h4 class="chapter"><a name="chapII" id="chapII">
+CHAPTER II.</a></h4>
+
+<h5 class="extended">RUINS AND INHABITED VILLAGES OF TUSAYAN.</h5>
+
+
+<h5 class="section"><a name="chapII_1" id="chapII_1">
+PHYSICAL FEATURES OF THE PROVINCE.</a></h5>
+
+<p>That portion of the southwestern plateau country comprised in the
+Province of Tusayan has usually been approached from the east, so that
+the easternmost of the series of mesas upon which the villages are
+situated is called the “First Mesa.” The road for 30 or 40 miles before
+reaching this point traverses the eastern portion of the great plateau
+whose broken margin, farther west, furnishes the abrupt mesa-tongues
+upon which the villages are built. The sandstone measures of this
+plateau are distinguished from many others of the southwest by their
+neutral colors. The vegetation consisting of a scattered growth of
+stunted piñon and cedar, interspersed with occasional stretches of
+dull-gray sage, imparts an effect of extreme monotony to the landscape.
+The effect is in marked contrast to the warmth and play of color
+frequently seen elsewhere in the plateau country.</p>
+
+<p>The plateaus of Tusayan are generally diversified by canyons and
+buttes, whose precipitous sides break down into long ranges of rocky
+talus and sandy foothills. The arid character of this district is
+especially pronounced about the margin of the plateau. In the immediate
+vicinity of the villages there are large areas that do not support a
+blade of grass, where barren rocks outcrop through drifts of sand or lie
+piled in confusion at the bases of the cliffs. The canyons that break
+through the margins of these mesas often have a remarkable similarity of
+appearance, and the consequent monotony is extremely embarrassing to the
+traveler, the absence of running water and clearly defined drainage
+confusing his sense of direction.</p>
+
+<p>The occasional springs which furnish scanty water supply to the
+inhabitants of this region are found generally at great distances apart,
+and there are usually but few natural indications of their location.
+They often occur in obscure nooks in the canyons, reached by tortuous
+trails winding through the talus and foothills, or as small seeps at the
+foot of some mesa. The convergence of numerous Navajo trails, however,
+furnishes some guide to these rare water sources.</p>
+
+<p>The series of promontories upon which the Tusayan villages are built
+are exceptionally rich in these seeps and springs. About the base of
+<a name="page043" id="page043"> </a>
+the “First Mesa” (Fig.&nbsp;1), within a distance
+of 4 or 5 miles from the villages located upon it, there are at least
+five places where water can be obtained. One of these is a mere surface
+reservoir, but the others appear to be permanent springs. The quantity
+of water, however, is so small that it produces no impression on the
+arid and sterile effect of the surroundings, except in its immediate
+vicinity. Here small patches of green, standing out in strong relief
+against their sandy back-grounds, mark the position of clusters of low,
+stunted peach trees that have obtained a foothold on the steep sand
+dunes.</p>
+
+<p class="illustration">
+<a name="fig1" id="fig1"> </a>
+<img src="images/fig1.png" width="438" height="285"
+alt="First Mesa"
+title="First Mesa" /></p>
+<p class="caption"><span class="smallcaps">Fig. 1.</span>
+View of the First Mesa.</p>
+
+<p>In the open plains surrounding the mesa rim (6,000 feet above the
+sea), are seen broad stretches of dusty sage brush and prickly
+greasewood. Where the plain rises toward the base of the mesa a
+scattered growth of scrub cedar and piñon begins to appear. But little
+of this latter growth is seen in the immediate vicinity of the villages;
+it is, however, the characteristic vegetation of the mesas, while, in
+still higher altitudes, toward the San Juan, open forests of timber are
+met with. This latter country seems scarcely to have come within the
+ancient builder’s province; possibly on account of its coldness in
+winter and for the reason that it is open to the incursions of warlike
+hunting tribes. Sage brush and greasewood grow abundantly near the
+villages, and these curious gnarled and twisted shrubs furnish the
+principal fuel of the Tusayan.</p>
+
+<p>Occasionally grassy levels are seen that for a few weeks in early
+summer are richly carpeted with multitudes of delicate wild flowers. The
+beauty of these patches of gleaming color is enhanced by contrast with
+the forbidding and rugged character of the surroundings; but in a very
+short time these blossoms disappear from the arid and parched desert
+<a name="page044" id="page044"> </a>
+that they have temporarily beautified. These beds of bloom are not seen
+in the immediate vicinity of the present villages, but are unexpectedly
+met with in portions of the neighboring mesas and canyons.</p>
+
+<p>After crossing the 6 or 7 miles of comparatively level country that
+intervenes between the mouth of Keam’s Canyon and the first of the
+occupied mesas, the toilsome ascent begins; at first through slopes and
+dunes and then over masses of broken talus, as the summit of the mesa is
+gradually approached. Near the top the road is flanked on one side by a
+very abrupt descent of broken slopes, and on the other by a precipitous
+rocky wall that rises 30 or 40 feet above. The road reaches the brink of
+the promontory by a sharp rise at a point close to the village of
+Hano.</p>
+
+
+<h5 class="section"><a name="chapII_2" id="chapII_2">
+METHODS OF SURVEY.</a></h5>
+
+<p>Before entering upon a description of the villages and ruins, a&nbsp;few
+words as to the preparation of the plans accompanying this paper will
+not be amiss. The methods pursued in making the surveys of the inhabited
+pueblos were essentially the same throughout. The outer wall of each
+separate cluster was run with a compass and a tape measure, the lines
+being closed and checked upon the corner from which the beginning was
+made, so that the plan of each group stands alone, and no accumulation
+of error is possible. The stretched tapeline afforded a basis for
+estimating any deviations from a straight line which the wall presented,
+and as each sight was plotted on the spot these deviations are all
+recorded on the plan, and afford an indication of the degree of accuracy
+with which the building was carried out. Upon the basis thus obtained,
+the outlines of the second stories were drawn by the aid of measurements
+from the numerous jogs and angles; the same process being repeated for
+each of the succeeding stories. The plan at this stage recorded all the
+stories in outline. The various houses and clusters were connected by
+compass sights and by measurements. A&nbsp;tracing of the outline plan was
+then made, on which the stories were distinguished by lines of different
+colors, and upon this tracing were recorded all the vertical
+measurements. These were generally taken at every corner, although in a
+long wall it was customary to make additional measurements at
+intervening points.</p>
+
+<p>Upon the original outline were then drawn all such details as coping
+stones, chimneys, trapdoors, etc., the tapeline being used where
+necessary to establish positions. The forms of the chimneys as well as
+their position and size were also indicated on this drawing, which was
+finally tinted to distinguish the different terraces. Upon this colored
+sheet were located all openings. These were numbered, and at the same
+time described in a notebook, in which were also recorded the necessary
+vertical measurements, such as their height and elevation above the
+ground. In the same notebook the openings were also fully described. The
+ladders were located upon the same sheet, and were consecutively
+<a name="page045" id="page045"> </a>
+lettered and described in the notebook. This description furnishes a
+record of the ladder, its projection above the coping, if any, the
+difference in the length of its poles, the character of the tiepiece,
+etc. Altogether these notebooks furnish a mass of statistical data which
+has been of great service in the elaboration of this report and in the
+preparation of models. Finally, a&nbsp;level was carried over the whole
+village, and the height of each corner and jog above an assumed base was
+determined. A&nbsp;reduced tracing was then made of the plan as a basis for
+sketching in such details of topography, etc., as it was thought
+advisable to preserve.</p>
+
+<p>These plans were primarily intended to be used in the construction of
+large scale models, and consequently recorded an amount of information
+that could not be reproduced upon the published drawings without causing
+great confusion.</p>
+
+<p>The methods followed in surveying the ruins underwent some changes
+from time to time as the work progressed. In the earlier work the lines
+of the walls, so far as they could be determined, were run with a
+compass and tapeline and gone over with a level. Later it was found more
+convenient to select a number of stations and connect them by
+cross-sights and measurements. These points were then platted, and the
+walls and lines of débris were carefully drawn in over the framework of
+lines thus obtained, additional measurements being taken when necessary.
+The heights of standing walls were measured from both sides, and
+openings were located on the plan and described in a notebook, as was
+done in the survey of the inhabited villages. The entire site was then
+leveled, and from the data obtained contour lines were drawn with a
+5-foot interval. Irregularities in the directions of walls were noted.
+In the later plans of ruins a scale of symbols, seven in number, were
+employed to indicate the amount and distribution of the débris. The
+plans, as published, indicate the relative amounts of débris as seen
+upon the ground. Probable lines of wall are shown on the plan by dotted
+lines drawn through the dots which indicate débris. With this exception,
+the plans show the ruins as they actually are. Standing walls, as a
+rule, are drawn in solid black; their heights appear on the field
+sheets, but could not be shown upon the published plans without
+confusing the drawing. The contour lines represent an interval of 5
+feet; the few cases in which the secondary or negative contours are used
+will not produce confusion, as their altitude is always given in
+figures.</p>
+
+
+<h5 class="section"><a name="chapII_3" id="chapII_3">
+PLANS AND DESCRIPTIONS OF RUINS.</a></h5>
+
+<p>The ruins described in this chapter comprise but a few of those found
+within the province of Tusayan. These were surveyed and recorded on
+account of their close traditional connection with the present villages,
+and for the sake of the light that they might throw upon the relation of
+the modern pueblos to the innumerable stone buildings of unknown date so
+widely distributed over the southwestern plateau country. Such
+<a name="page046" id="page046"> </a>
+traditional connection with the present peoples could probably be
+established for many more of the ruins of this country by investigations
+similar to those conducted by Mr. Stephen in the Tusayan group; but this
+phase of the subject was not included in our work. In the search for
+purely architectural evidence among these ruins it must be confessed
+that the data have proved disappointingly meager. No trace of the
+numerous constructive details that interest the student of pueblo
+architecture in the modern villages can be seen in the low mounds of
+broken down masonry that remain in most of the ancient villages of
+Tusayan. But little masonry remains standing in even the best preserved
+of these ruins, and villages known to have been occupied within two
+centuries are not distinguishable from the remains to which distinct
+tradition (save that they were in the same condition when the first
+people of the narrators’ gens came to this region) no longer clings.
+Though but little architectural information is to be derived from these
+ruins beyond such as is conveyed by the condition and character of the
+masonry and the general distribution of the plan, the plans and relation
+to the topography are recorded as forming, in connection with the
+traditions, a&nbsp;more complete account than can perhaps be obtained
+later.</p>
+
+<p>In our study of architectural details, when a comparison is suggested
+between the practice at Tusayan and that of the ancient builders, our
+illustrations for the latter must often be drawn from other portions of
+the builders’ territory where better preserved remains furnish the
+necessary data.</p>
+
+<h6><a name="chapII_3_1" id="chapII_3_1">
+WALPI RUINS.</a></h6>
+
+<p>In the case of the pueblo of Walpi, a&nbsp;portion of whose people seem to
+have been the first comers in this region, a&nbsp;number of changes of sites
+have taken place, at least one of which has occurred within the historic
+period. Of the various sites occupied one is pointed out north of the
+gap on the first mesa. At the present time this site is only a low mound
+of sand-covered débris with no standing fragment of wall visible. The
+present condition of this early Walpi is illustrated in Fig.&nbsp;2.
+In the absence of foundation walls or other definite
+lines, the character of the site is expressed by the contour lines that
+define its relief. Another of the sites occupied by the Walpi is said to
+have been in the open valley separating the first from the second mesa,
+but here no trace of the remains of a stone village has been discovered.
+This traditional location is referred to by Mr. Stephen in his account
+of Walpi. The last site occupied previous to the present one on the mesa
+summit was on a lower bench of the first mesa promontory at its southern
+extremity. Here the houses are said to have been distributed over quite
+a large area, and occasional fragments of masonry are still seen at
+widely separated points; but the ground plan can not now be traced. This
+was the site of a Spanish mission, and some of the Tusayan point out the
+position formerly occupied by mission buildings, but no architectural
+evidence of such structures is visible. It seems to be fairly certain,
+however, that
+<a name="page047" id="page047"> </a>
+this was the site of Walpi at a date well within the historic period,
+although now literally there is not one stone upon another. The
+destruction in this instance has probably been more than usually
+complete on account of the close proximity of the succeeding pueblo,
+making the older remains a very convenient stone quarry for the
+construction of the houses on the mesa summit. Of the three abandoned
+sites of Walpi referred to, not one furnishes sufficient data for a
+suggestion of a ground plan or of the area covered.</p>
+
+<p class="illustration">
+<a name="fig2" id="fig2"> </a>
+<img src="images/fig2.png" width="395" height="476"
+alt="Old Walpi mound"
+title="Old Walpi mound" /></p>
+<p class="caption"><span class="smallcaps">Fig. 2.</span>
+Ruins, Old Walpi mound.</p>
+
+<h6><a name="chapII_3_2" id="chapII_3_2">
+OLD MASHONGNAVI.</a></h6>
+
+<p>In the case of Mashongnavi we have somewhat more abundant material.
+It will be desirable to quote a few lines of narrative from the account
+of a Mashongnavi Indian of the name of Nuvayauma, as indicating the
+causes that led to the occupation of the site illustrated.</p>
+
+<blockquote>
+<p>
+We turned and came to the north, meeting the Apache and “Beaver
+Indians,” with whom we had many battles, and being few we were defeated,
+after which we came
+<a name="page048" id="page048"> </a>
+up to Mashongnavi [the ruin at the “Giant’s Chair”] and gave that rock
+its name [name not known], and built our houses there. The Apache came
+upon us again, with the Comanche, and then we came to [Old Mashóngnavi].
+We lived there in peace many years, having great success with crops, and
+our people increased in numbers, and the Apache came in great numbers
+and set fire to the houses and burned our corn, which you will find
+to-day there burnt and charred. After they had destroyed our dwellings
+we came upon the mesa, and have lived here since.
+</p>
+</blockquote>
+
+<p>The ruins referred to as having been the first occupied by the
+Mashongnavi at a large isolated rock known as the “Giant’s Chair,” have
+not been examined. The later village from which they were driven by the
+attacks of the Apache to their present site has been surveyed. The plan
+of the fallen walls and lines of débris by which the form of much of the
+old pueblo can still be traced is given in <a href="#plateII">Pl.
+<span class="smallroman">II</span></a>. The plan of the best preserved
+portion of the pueblo towards the north end of the sheet clearly
+indicates a general adherence to the inclosed court arrangement with
+about the same degree of irregularity that characterizes the modern
+village. Besides the clearly traceable portions of the ruin that bear
+such resemblance to the present village in arrangement, several small
+groups and clusters appear to have been scattered along the slope of the
+foothills, but in their present state of destruction it is not clear
+whether these clusters were directly connected with the principal group,
+or formed part of another village. Occasional traces of foundation walls
+strongly suggest such connection, although from the character of the
+site this intervening space could hardly have been closely built over.
+With the exception of the main cluster above described the houses occupy
+very broken and irregular sites. As indicated on the plan, the slope is
+broken by huge irregular masses of sandstone protruding from the soil,
+while much of the surface is covered by scattered fragments that have
+fallen from neighboring pinnacles and ledges. The contours indicate the
+general character of the slopes over which these irregular features are
+disposed. The fragment of ledge shown on the north end of the plate,
+against which a part of the main cluster has been built, is a portion of
+a broad massive ledge of sandstone that supports the low buttes upon
+which the present villages of Mashongnavi and Shupaúlovi are built, and
+continues as a broad, level shelf of solid rock for several miles along
+the mesa promontory. Its continuation on the side opposite that shown in
+the plate may be seen in the general view of Shupaulovi (<a href="#plateXXXI">Pl. <span class="smallroman">XXXI</span></a>).</p>
+
+<h6><a name="chapII_3_3" id="chapII_3_3">
+SHITAIMUVI.</a></h6>
+
+<p>The vestiges of another ruined village, known as Shitaimuvi, are
+found in the vicinity of Mashongnavi, occupying and covering the crown
+of a rounded foothill on the southeast side of the mesa. No plan of this
+ruin could be obtained on account of the complete destruction of the
+walls. No line of foundation stones even could be found, although the
+whole area is more or less covered with the scattered stones of former
+masonry. An exceptional quantity of pottery fragments is also strewn
+<a name="page049" id="page049"> </a>
+over the surface. These bear a close resemblance to the fine class of
+ware characteristic of “Talla Hogan” or “Awatubi,” and would suggest
+that this pueblo was contemporaneous with the latter. Some reference to
+this ruin win be found in the traditionary material in Chapter <span
+class="smallroman">I</span>.</p>
+
+<h6><a name="chapII_3_4" id="chapII_3_4">
+AWATUBI.</a></h6>
+
+<p>The ruin of Awatubi is known to the Navajo as Talla Hogan, a&nbsp;term
+interpreted as meaning “singing house” and thought to refer to the
+chapel and mission that at one time nourished here, as described by Mr.
+Stephen in Chapter <span class="smallroman">I</span>. Tradition
+ascribes great importance to this village. At the time of the Spanish
+conquest it was one of the most prosperous of the seven “cities” of
+Tusayan, and was selected as the site of a mission, a&nbsp;distinction shared
+by Walpi, which was then on a lower spur of the first mesa, and by
+Shumopavi, which also was built on a lower site than the present village
+of that name. Traditions referring to this pueblo have been collected
+from several sources and, while varying somewhat in less important
+details, they all concur in bringing the destruction of the village well
+within the period of Spanish occupation.</p>
+
+<p class="illustration">
+<a name="plateIV" id="plateIV"> </a>
+<img src="images/plate4.png" width="458" height="517"
+alt="plan of Awatubi (Talla-Hogan)"
+title="plan of Awatubi (Talla-Hogan)" /></p>
+<p class="caption smallcaps">
+Plate IV. Awatubi (Talla-Hogan), plan.</p>
+
+<p>On the historical site, too, we know that Cruzate on the occasion of
+the attempted reconquest of the country visited this village in 1692,
+and the ruin must therefore be less than two centuries old, yet the
+completeness of destruction is such that over most of its area no
+standing wall is seen, and the outlines of the houses and groups are
+indicated mainly by low ridges and masses of broken-down masonry, partly
+covered by the drifting sands. The group of rooms that forms the south
+east side of the pueblo is an exception to the general rule. Here
+fragmentary walls of rough masonry stand to a height, in some cases, of
+8 feet above the débris. The character of the stonework, as may be seen
+from Pl. <span class="smallroman">V</span>, is
+but little better than that of the modern villages. This better
+preserved portion of the village seems to have formed part of a cluster
+of mission buildings. At the points designated A on the ground plan may
+be seen the remnants of walls that have been built of straw adobe in the
+typical Spanish manner. These rest upon foundations of stone masonry.
+See <a href="#plateVI">Pl. <span class="smallroman">VI</span></a>.
+The adobe fragments are probably part of the church or associated
+buildings. At two other points on the ground plan, both on the northeast
+side, low fragments of wall are still standing, as may be seen from the
+plate. At one of these points the remains indicate that the village was
+provided with a gateway near the middle of the northeast side.</p>
+
+<p class="illustration">
+<a name="plateV" id="plateV"> </a>
+<img src="images/plate5.png" width="456" height="260"
+alt="Awatubi walls"
+title="Awatubi walls" /></p>
+<p class="caption smallcaps">
+Plate V. Standing walls of Awatubi.</p>
+
+<p>The general plan of this pueblo is quite different from that of the
+present villages, and approaches the older types in symmetry and
+compactness. There is a notable absence of the arrangement of rooms into
+long parallel rows. This typical Tusayan feature is only slightly
+approximated in some subordinate rows within the court. The plan
+suggests that the original pueblo was built about three sides of a
+rectangular
+<a name="page050" id="page050"> </a>
+court, the fourth or southeast side&mdash;later occupied by the mission
+buildings&mdash;being left open, or protected only by a low wall.
+Outside the rectangle of the main pueblo, on the northeast side, are two
+fragments of rude masonry, built by Navajo sheep herders. Near the west
+corner of the pueblo are the vestiges of two rooms, outside the pueblo
+proper, which seem to belong to the original construction.</p>
+
+<p class="illustration">
+<a name="plateVI" id="plateVI"> </a>
+<img src="images/plate6.jpg" width="370" height="228"
+alt="Awatubi adobe"
+title="Awatubi adobe" /></p>
+<p class="caption smallcaps">
+Plate VI. Adobe fragment in Awatubi.</p>
+
+<p>Awatubi is said to have had excavated rectangular kivas, situated in
+the open court, similar to those used in the modern village. The people
+of Walpi had partly cleared out one of these chambers and used it as a
+depository for ceremonial plume-sticks, etc., but the Navajo came and
+carried off their sacred deposits, tempted probably by their market
+value as ethnologic specimens. No trace of these kivas was visible at
+the time the ruins were surveyed.</p>
+
+<p>The Awatubi are said to have had sheep at the time the village was
+destroyed. Some of the Tusayan point out the remains of a large sheep
+corral near the spring, which they say was used at that time, but it is
+quite as likely to have been constructed for that purpose at a much
+later date.</p>
+
+<h6><a name="chapII_3_5" id="chapII_3_5">
+HORN HOUSE.</a></h6>
+
+<p>The Horn House is so called because tradition connects this village
+with some of the people of the Horn phratry of the Hopituh or Tusayan.
+The ruin is situated on a projecting point of the mesa that forms the
+western flank of Jeditoh Valley, not far from where the Holbrook road to
+Keam’s Canyon ascends the brink of the mesa. The village is almost
+completely demolished, no fragment of standing wall remaining in place.
+Its general plan and distribution are quite clearly indicated by the
+usual low ridges of fallen masonry partly covered by drifted sand. There
+is but little loose stone scattered about, the sand having filled in all
+the smaller irregularities.</p>
+
+<p>It will be seen from the plan, Pl. <span class="smallroman">VII</span>, that the village has been built close to
+the edge of the mesa, following to some extent the irregularities of its
+outline. The mesa ruin at this point, however, is not very high, the
+more abrupt portion having a height of 20 or 30 feet. Near the north end
+of the village the ground slopes very sharply toward the east and is
+rather thickly covered with the small stones of fallen masonry, though
+but faint vestiges of rooms remain. In plan the ruin is quite elongated,
+following the direction of the mesa. The houses were quite irregularly
+disposed, particularly in the northern portion of the ruin. But here the
+indications are too vague to determine whether the houses were
+originally built about one long court or about two or more smaller ones.
+The south end of the pueblo, however, still shows a well defined court
+bounded on all sides by clearly traceable rooms. At the extreme south
+end of the ruin the houses have very irregular outlines, a&nbsp;result of
+their adaptation to the topography, as may be seen in the
+illustration.</p>
+
+<p class="illustration">
+<a name="plateVII" id="plateVII"
+href="images/plate7.png">
+<img src="images/plate7thumb.png" width="352" height="203"
+alt="plan of Horn House ruin"
+title="plan of Horn House ruin" /></a></p>
+<p class="caption">
+<a href="images/plate7.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate VII. Horn House ruin, plan.</span></p>
+
+<p>The plan shows the position of a small group of cottonwood trees,
+just below the edge of the mesa and nearly opposite the center of the
+<a name="page051" id="page051"> </a>
+village. These trees indicate the proximity of water, and mark the
+probable site of the spring that furnished this village with at least
+part of its water supply.</p>
+
+<p>There are many fragments of pottery on this spot, but they are not so
+abundant as at Awatubi.</p>
+
+<p>Two partly excavated rooms were seen at this ruin, the work of some
+earlier visitors who hoped to discover ethnologic or other treasure.</p>
+
+<p>These afforded no special information, as the character of the
+masonry exposed differed in no respect from that seen at other of the
+Tusayan ruins. No traces of adobe construction or suggestions of foreign
+influence were seen at this ruin.</p>
+
+<h6><a name="chapII_3_6" id="chapII_3_6">
+SMALL RUIN BETWEEN HORN HOUSE AND BAT HOUSE.</a></h6>
+
+<p>On a prolongation of the mesa occupied by the Horn House, midway
+between it and another ruined pueblo known as the Bat House, occur the
+remains of a small and compact cluster of houses (Fig.&nbsp;3).
+It is situated on the very mesa edge, here
+about 40 feet high, at the head of a small canyon which opens into the
+Jeditoh Valley, a&nbsp;quarter of a mile below.</p>
+
+<p class="illustration">
+<a name="fig3" id="fig3"> </a>
+<img src="images/fig3.png" width="447" height="337"
+alt="ruin"
+title="ruin" /></p>
+<p class="caption"><span class="smallcaps">Fig. 3.</span>
+Ruin between Bat House and Horn House.</p>
+
+<p>The site affords an extended outlook to the south over a large part
+of Jeditoh Valley. The topography about this point, which receives the
+drainage of a considerable area of the mesa top, would fit it especially
+for the establishment of a reservoir. This fact probably had much
+<a name="page052" id="page052"> </a>
+to do with its selection as a dwelling site. The masonry is in about the
+same state of preservation as that of the Horn House, and some of the
+stones of the fallen walls seem to have been washed down from the mesa
+edge to the talus below.</p>
+
+<h6><a name="chapII_3_7" id="chapII_3_7">
+BAT HOUSE.</a></h6>
+
+<p>The Bat House is a ruin of nearly the same size as the Horn House,
+although in its distribution it does not follow the mesa edge so closely
+as the latter, and is not so elongated in its general form. The northern
+portion is quite irregular, and the rooms seem to have been somewhat
+crowded. The southern half, with only an occasional room traceable, as
+indicated on the plan, Pl. <span class="smallroman">VIII</span>, still shows that the rooms were
+distributed about a large open court.</p>
+
+<p class="illustration">
+<a name="plateVIII" id="plateVIII"> </a>
+<img src="images/plate8.png" width="448" height="571"
+alt="Bat House"
+title="Bat House" /></p>
+<p class="caption smallcaps">
+Plate VIII. Bat House.</p>
+
+<p>The Bat House is situated on the northwest side of the Jeditoh
+Valley, on part of the same mesa occupied by the two ruins described
+above. It occupies the summit of a projecting spur, overlooking the main
+valley for an extent of more than 5 miles. The ruin lies on the extreme
+edge of the cliff, here about 200 feet high, and lying beneath it on the
+east and south are large areas of arable land. Altogether it forms an
+excellent defensive site, combined with a fair degree of convenience to
+fields and water from the Tusayan point of view.</p>
+
+<p>This ruin, near its northeastern extremity, contains a feature that
+is quite foreign to the architecture of Tusayan, viz, a&nbsp;defensive wall.
+It is the only instance of the use by the Hopituh of an inclosing wall,
+though it is met with again at Payupki (<a href="#plateXIII">Pl. <span
+class="smallroman">XIII</span></a>), which, however, was built by
+people from the Rio Grande country.</p>
+
+<h6><a name="chapII_3_8" id="chapII_3_8">
+MISHIPTONGA.</a></h6>
+
+<p>Mishiptonga is the Tusayan name for the southernmost, and by far the
+largest, of the Jeditoh series of ruins
+(Pl. <span
+class="smallroman">IX</span>). It occurs quite close to the
+Jeditoh spring which gives its name to the valley along whose northern
+and western border are distributed the ruins above described, beginning
+with the Horn house.</p>
+
+<p class="illustration">
+<a name="plateIX" id="plateIX"
+href="images/plate9.png">
+<img src="images/plate9thumb.png" width="395" height="273"
+alt="plan of Mishiptonga"
+title="plan of Mishiptonga" /></a></p>
+<p class="caption">
+<a href="images/plate9.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate IX. Mishiptonga (Jeditoh).</span></p>
+
+<p>This village is rather more irregular in its arrangement than any
+other of the series. There are indications of a number of courts
+inclosed by large and small clusters of rooms, very irregularly
+disposed, but with a general trend towards the northeast, being roughly
+parallel with the mesa edge. In plan this village approaches somewhat
+that of the inhabited Tusayan villages. At the extreme southern
+extremity of the mesa promontory is a small secondary bench, 20 feet
+lower than the site of the main village. This bench has also been
+occupied by a number of houses. On the east side the pueblo was built to
+the very edge of the bluff, where small fragments of masonry are still
+standing. The whole village seems so irregular and crowded in its
+arrangement that it suggests a long period of occupancy and growth, much
+more than do the other villages of this (Jeditoh) group.</p>
+
+<p>
+<a name="page053" id="page053"> </a>
+The pueblo may have been abandoned or destroyed prior to the advent of
+the Spaniards in this country, as claimed by the Indians, for no
+traditional mention of it is made in connection with the later feuds and
+wars that figure so prominently in the Tusayan oral history of the last
+three centuries. The pueblo was undoubtedly built by some of the ancient
+gentes of the Tusayan stock, as its plan, the character of the site
+chosen, and, where traceable, the quality of workmanship link it with
+the other villages of the Jeditoh group.</p>
+
+<p class="illustration">
+<a name="plateX" id="plateX"> </a>
+<img src="images/plate10.jpg" width="480" height="301"
+alt="small ruin"
+title="small ruin" /></p>
+<p class="caption smallcaps">
+Plate X. A small ruin near Moen-kopi.</p>
+
+<h6><a name="chapII_3_9" id="chapII_3_9">
+MOEN-KOPI RUINS.</a></h6>
+
+<p>A very small group of rooms, even smaller than the neighboring
+farming pueblo of Moen-kopi, is situated on the western edge of the mesa
+summit about a quarter of a mile north of the modern village of
+Moen-kopi. As the plan shows (Fig.&nbsp;4), the
+rooms were distributed in three rows around a small court. This ruin
+also follows the general northeastern trend which has been noticed both
+in the ruined and in the occupied pueblos of Tusayan. The rows here were
+only one room deep and not more than a single story high at any point,
+as indicated by the very small amount of débris. As the plate shows,
+nearly the entire plan is clearly defined by fragments of standing
+walls. The walls are built of thin tablets of the dark-colored sandstone
+which caps the mesa. Where the walls have fallen the débris is
+comparatively free
+<a name="page054" id="page054"> </a>
+from earth, indicating that adobe has been sparingly used. The walls, in
+places standing to a height of 2 or 3 feet, as may be seen in the
+illustration, Pl. <span class="smallroman">X</span>, show unusual precision of workmanship and
+finish, resembling in this respect some of the ancient pueblos farther
+north. This is to some extent due to the exceptional suitability of the
+tabular stones of the mesa summit. The almost entire absence of pottery
+fragments and other objects of art which are such a constant
+accompaniment of the ruins throughout this region strongly suggest that
+it was occupied for a very short time. In Chapter <span class="smallroman">III</span> it will be shown that a similar order of
+occupation took place at Ojo Caliente, one of the Zuñi farming villages.
+This ruin is probably of quite recent origin, as is the present village
+of Moen-kopi, although it may possibly have belonged to an earlier
+colony of which we have no distinct trace. This fertile and well watered
+valley, a&nbsp;veritable garden spot in the Tusayan deserts, must have been
+one of the first points occupied. Some small cliff-dwellings, single
+rooms in niches of a neighboring canyon wall, attest the earlier use of
+the valley for agricultural purposes, although it is doubtful whether
+these rude shelters date back of the Spanish invasion of the
+province.</p>
+
+<p class="illustration">
+<a name="fig4" id="fig4"> </a>
+<img src="images/fig4.png" width="439" height="360"
+alt="plan of ruin"
+title="plan of ruin" /></p>
+<p class="caption"><span class="smallcaps">Fig. 4.</span>
+Ruin near Moen-kopi, plan.</p>
+
+<p>A close scrutiny of the many favorable sites in this vicinity would
+probably reveal the sand-encumbered remains of some more important
+settlement than any of those now known.</p>
+
+<h6><a name="chapII_3_10" id="chapII_3_10">
+RUINS ON THE ORAIBI WASH.</a></h6>
+
+<p>The wagon road from Keam’s Canyon to Tuba City crosses the Oraibi
+wash at a point about 7 miles above the village of Oraibi. As it enters
+a branch canyon on the west side of the wash it is flanked on each side
+by rocky mesas and broken ledges. On the left or west side a bold
+promontory, extending southward, is quite a conspicuous feature of the
+landscape. The entire flat mesa summit, and much of the slope of a rocky
+butte that rises from it, are covered with the remains of a small
+pueblo, as shown on the plan, Fig.&nbsp;5. All of
+this knoll except its eastern side is lightly covered with scattered
+débris. On the west and north sides there are many large masses of
+broken rock distributed over the slope. There is no standing wall
+visible from below, but on closer approach several interesting specimens
+of masonry are seen. On the north side, near the west end, there is a
+fragment of curved wall which follows the margin of the rock on which it
+is built. It is about 8 or 10 feet long and 3&nbsp;feet high on the outer
+side. The curve is carefully executed and the workmanship of the masonry
+good. Farther east, and still on the north side, there is a fragment of
+masonry exhibiting a reversed curve. This piece of wall spans the space
+between two adjoining rocks, and the top of the wall is more than 10
+feet above the rock on which it stands. The shape of this wall and its
+relation to the surroundings are indicated on the plan, Fig.&nbsp;5.
+On the south side of the ruin on the mesa
+surface, and near an outcropping rock, are the remains
+<a name="page055" id="page055"> </a>
+of what appears to have been a circular room, perhaps 8 or 10 feet in
+diameter, though it is too much broken down to determine this
+accurately. Only a small portion of the south wall can be definitely
+traced. On the south slope of the mesa are indications of walls, too
+vaguely defined to admit of the determination of their direction.
+Similar vestiges of masonry are found on the north and west, but not
+extending to as great a distance from the knoll as those on the
+south.</p>
+
+<p class="illustration">
+<a name="fig5" id="fig5"> </a>
+<img src="images/fig5.png" width="438" height="323"
+alt="ruin"
+title="ruin" /></p>
+<p class="caption"><span class="smallcaps">Fig. 5.</span>
+Ruin 7 miles north of Oraibi.</p>
+
+<p>In that portion of the ruin which lies on top of the knoll, the walls
+so far as traced conform to the shape of the site. The ground plan of
+the buildings that once occupied the slopes can not be traced, and it is
+impossible to determine whether its walls were carried through
+continuously.</p>
+
+<p>The masonry exhibited in the few surviving fragments of wall is of
+unusually good quality, resembling somewhat that of the Fire House,
+<a href="#fig7">Fig.&nbsp;7</a>, and other ruins of that class. The
+stones are of medium size, not dressed, and are rather rougher and less
+flat than is usual, but the wall has a good finish. The stone, however,
+is of poor quality. Most of the débris about the ruin consists of small
+stone fragments and sand, comparatively few stones of the size used in
+the walls being seen. The material evidently came from the immediate
+vicinity of the ruin.</p>
+
+<p>Pottery fragments were quite abundant about this ruin, most of the
+ware represented being of exceptional quality and belonging to the older
+types; red ware with black lines and black and white ware were
+especially abundant.</p>
+
+<p>
+<a name="page056" id="page056"> </a>
+There is quite an extensive view from the ruin, the top of the butte
+commanding an outlook down the valley past Oraibi, and about 5 miles
+north. There is also an extended outlook up the valley followed by the
+wagon road above referred to, and over two branch valleys, one on the
+east and another of much less extent on the west. The site was well
+adapted for defense, which must have been one of the principal motives
+for its selection.</p>
+
+<h6><a name="chapII_3_11" id="chapII_3_11">
+KWAITUKI.</a></h6>
+
+<p>The ruin known to the Tusayan as Kwaituki (Fig.&nbsp;6)
+is also on the west side of the Oraibi wash, 14
+miles above Oraibi, and about 7 miles above the ruin last described. Its
+general resemblance to the latter is very striking. The builders have
+apparently been actuated by the same motives in their choice of a site,
+and their manner of utilizing it corresponds very closely. The crowning
+feature of the rocky knoll in this case is a picturesque group of
+rectangular masses of sandstone, somewhat irregularly distributed. The
+bare summit of a large block-like mass still retains the vestiges of
+rooms, and probably most of the groups were at one time covered with
+buildings, forming a prominent citadel-like group in the midst of the
+village. To the north of this rocky butte a large area seems to have
+been at one time inclosed by buildings, forming a court of unusual
+dimensions. Along the outer margin of the pueblo
+<a name="page057" id="page057"> </a>
+occasional fragments of walls define former rooms, but the amount and
+character of the débris indicate that the inner area was almost
+completely inclosed with buildings. The remains of masonry extend on the
+south a little beyond the base of the central group of rocks, but here
+the vestiges of stonework are rather faint and scattered.</p>
+
+<p class="illustration">
+<a name="fig6" id="fig6"> </a>
+<img src="images/fig6.png" width="435" height="354"
+alt="ruin"
+title="ruin" /></p>
+<p class="caption"><span class="smallcaps">Fig. 6.</span>
+Ruin 14 miles north of Oraibi (Kwaituki).</p>
+
+<p>In the nearly level tops of some of the rocks forming the central
+pile are many smoothly worn depressions or cavities, which have
+evidently been used for the grinding and shaping of stone
+implements.</p>
+
+<p>A remarkable feature occurring within this village is a cave or
+underground fissure in the rocks, which evidently had been used by the
+inhabitants. The mouth or entrance to this cavern, partly obstructed and
+concealed at the time of our visit, occurs at the point A on the plan.
+On clearing away the rubbish at the mouth and entering it was found so
+obstructed with broken rock and fine dust that but little progress could
+be made in its exploration; but the main crevice in the rock could be
+seen by artificial light to extend some 10 feet back from the mouth,
+where it became very shallow. It could be seen that the original cavern
+had been improved by the pueblo-builders, as some of the timbers that
+had been placed inside were still in position, and a low wall of masonry
+on the south side remained intact. Some Navajos stated that they had
+discovered this small cave a couple of years before and had taken from
+it a large unbroken water jar of ancient pottery and some other
+specimens. The place was probably used by the ancient occupants simply
+for storage.</p>
+
+<p>Fragments of pottery of excellent quality were very abundant about
+this ruin and at the foot of the central rocks the ground was thickly
+strewn with fragments, often of large size.</p>
+
+<p>The defensive character of this site parallels that of the ruin 7
+miles farther south in quite a remarkable manner, and the villages were
+apparently built and occupied at the same time.</p>
+
+<h6><a name="chapII_3_12" id="chapII_3_12">
+TEBUGKIHU, OR FIRE HOUSE.</a></h6>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig7" id="fig7"> </a>
+<img src="images/fig7.png" width="190" height="290"
+alt="plan of ruin"
+title="plan of ruin" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 7.</span>
+Oval (Fire House) ruin,<br/>
+plan (Tebugkihu).
+</td>
+</tr>
+</table>
+
+<p>About 15 miles northeast of Keam’s Canyon, and about 25 miles from
+Walpi, is a small ruin called by the Tusayan “Tebugkihu,” built by
+people of the Fire gens (now extinct).
+As the plan (Fig.&nbsp;7) clearly shows, this pueblo is very different
+from the typical Tusayan villages that have been previously described.
+The apparent unity of the plan, and the skillful workmanship somewhat
+resembling the pueblos of the Chaco are in marked contrast to the
+irregularity and careless construction of most of the Tusayan ruins. Its
+distance from the center of the province, too, suggests outside
+relationship; but still the Tusayan traditions undoubtedly connect the
+place with some of the ancestral gentes, as seen in Chapter <span class="smallroman">I</span>.</p>
+
+<p>The small and compact cluster of rooms is in a remarkable state of
+preservation, especially the outside wall. This wall was carefully and
+massively constructed, and stands to the height of several feet around
+<a name="page058" id="page058"> </a>
+the entire circumference of the ruin, except along the brink of the
+cliff, as the plan shows.</p>
+
+<p>This outer wall contains by far the largest stones yet found
+incorporated in pueblo masonry. A&nbsp;fragment of this masonry is
+illustrated in Pl. <span class="smallroman">XI</span>. The largest stone shown measures about 5
+feet in length, and the one adjoining on the right measures about 4
+feet. These dimensions are quite remarkable in pueblo masonry, which is
+distinguished by the use of very small stones.</p>
+
+<p class="illustration">
+<a name="plateXI" id="plateXI"> </a>
+<img src="images/plate11.png" width="455" height="287"
+alt="Fire-House masonry"
+title="Fire-House masonry" /></p>
+<p class="caption smallcaps">
+Plate XI. Masonry on the outer wall of the Fire-House, detail.</p>
+
+<p>The well defined outer wall of this cluster to the unaided eye
+appears to be elliptical, but it will be seen from the plan that the
+ellipse is somewhat pointed on the side farthest from the cliff. As in
+other cases of ancient pueblos with curved outlines, the outer wall
+seems to have been built first, and the inner rooms, while kept as
+rectangular as possible, were adjusted to this curve. This arrangement
+often led to a cumulating divergence from radial lines in some of the
+partitions, which irregularity was taken up in one room, as in this
+instance, in the space near the gate. The outer wall is uniform in
+construction so far as preserved. Many irregularities appear, however,
+in the construction of the inner or partition walls, and some of the
+rooms show awkward attempts at adjustment to the curve of the outer
+wall.</p>
+
+<p>The ruin is situated on the very brink of a small canyon, which
+probably contained a spring at the foot of the cliff close under the
+ruin site, as the vegetation there has an unusual appearance of
+freshness, suggesting the close proximity of water to the surface. A
+steep trail evidently connected the village with the bottom of the
+canyon. Some of the rocks of the mesa rim were marked by numerous
+cup-like cavities similar to those seen at Kwaituki, and used in the
+polishing and forming of stone implements. The type of pueblo here
+illustrated belonged to a people who relied largely on the architecture
+for defense, differing in this respect from the spirit of Tusayan
+architecture generally, where the inaccessible character of the site was
+the chief dependence.</p>
+
+<h6><a name="chapII_3_13" id="chapII_3_13">
+CHUKUBI.</a></h6>
+
+<p>The ruin called Chukubi by the Tusayan (Pl.
+<span class="smallroman">XII</span>) is situated on the Middle
+Mesa, about 3&nbsp;miles northeast of Mashongnavi. It occupies a promontory
+above the same broad sandstone ledge that forms such a
+<a name="page059" id="page059"> </a>
+conspicuous feature in the vicinity of Mashongnavi and Shupaulovi, and
+which supports the buttes upon which these villages are built.</p>
+
+<p class="illustration">
+<a name="plateXII" id="plateXII"
+href="images/plate12.png">
+<img src="images/plate12thumb.png" width="474" height="245"
+alt="plan of Chukubi"
+title="plan of Chukubi" /></a></p>
+<p class="caption">
+<a href="images/plate12.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XII. Chukubi, plan.</span></p>
+
+<p>Little masonry now remains on this site, but here and there a
+fragment aids in defining the general plan of the pueblo. In general
+form the village was a large rectangle with a line of buildings across
+its center, dividing it into two unequal courts, and a projecting wing
+on the west side. As may be seen from the illustration, one end of the
+ruin forms a clearly defined rectangular court, composed of buildings
+mostly two rooms deep. Here, as in other ruins of Tusayan, the
+arrangement about inclosed courts is in contrast with the parallelism of
+rows, so noticeable a feature in the occupied villages. At the east end
+of the ruin are several curious excavations. The soft sandstone has been
+hollowed out to a depth of about 10 inches, in prolongation of the
+outlines of adjoining rooms. Such excavation to obtain level floors is
+quite unusual among the pueblo builders; it was practiced to a very
+small extent, and only where it could be done with little trouble. Any
+serious inequality of surface was usually incorporated in the
+construction, as will be noticed at Walpi (<a href="#plateXXIII">Pl.
+<span class="smallroman">XXIII</span></a>). Vestiges of masonry
+indicating detached rooms were seen in each of the courts of the main
+rectangle.</p>
+
+<p>On the slope of the hill, just above the broad ledge previously
+described, there is a fine spring, but no trace of a trail connecting it
+with the pueblo could be found.</p>
+
+<p>This village was advantageously placed for defense, but not to the
+same degree as Payupki, illustrated in <a href="#plateXIII">Pl. <span
+class="smallroman">XIII</span></a>.</p>
+
+<p class="illustration">
+<a name="plateXIV" id="plateXIV"> </a>
+<img src="images/plate14.png" width="451" height="251"
+alt="Payupki"
+title="Payupki" /></p>
+<p class="caption smallcaps">
+Plate XIV. General view of Payupki.</p>
+
+<h6><a name="chapII_3_14" id="chapII_3_14">
+PAYUPKI.</a></h6>
+
+<p>The ruin called Payupki
+(Pl. <span class="smallroman">XIII</span>) occupies the summit of a bold promontory
+south of the trail, from Walpi to Oraibi, and about 6&nbsp;miles northwest
+from Mashongnavi. The outer extremity of this promontory is separated
+from the mesa by a deep notch. The summit is reached from the mesa by
+way of the neck, as the outer point itself is very abrupt, much of the
+sandstone ledge being vertical. A&nbsp;bench, 12 or 15 feet below the summit
+and in places quite broad, encircles the promontory. This bench also
+breaks off very abruptly.</p>
+
+<p class="illustration">
+<a name="plateXIII" id="plateXIII"
+href="images/plate13.png">
+<img src="images/plate13thumb.png" width="448" height="200"
+alt="plan of Payupki"
+title="plan of Payupki" /></a></p>
+<p class="caption">
+<a href="images/plate13.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XIII. Payupki, plan.</span></p>
+
+<p>As may be seen from the plan, the village is quite symmetrically laid
+out and well arranged for defense. It is placed at the mesa end of the
+promontory cap, and for greater security the second ledge has also been
+fortified. All along the outer margin of this ledge are the remains of a
+stone wall, in some places still standing to a height of 1 or 2 feet.
+This wall appears to have extended originally all along the ledge around
+three sides of the village. The steepness of the cliff on the remaining
+side rendered a wall superfluous. On the plain below this promontory,
+and immediately under the overhanging cliff, are two corrals, and also
+<a name="page060" id="page060"> </a>
+the remains of a structure that resembles a kiva, but which appears to
+be of recent construction.</p>
+
+<p>In the village proper (<a href="#plateXIV">Pl. <span class="smallroman">XIV</span></a>) are two distinctly traceable kivas. One of
+these, situated in the court, is detached and appears to have been
+partly underground. The other, located in the southeast end of the
+village, has also, like the first, apparently been sunk slightly below
+the surface. There is a jog in the standing wall of this kiva which
+corresponds to that usually found in the typical Tusayan kivas (see
+Figs. <a href="#fig22">22</a> and <a href="#fig25">25</a>). On the
+promontory and east of the village is a single room of more than average
+length, with a well formed door in the center of one side. This room has
+every appearance of being contemporary with the rest of the village, but
+its occurrence in this entirely isolated position is very unusual. Still
+farther east there is a mass of debris that may have belonged to a
+cluster of six or eight rooms, or it may possibly be the remains of
+temporary stone shelters for outlooks over crops, built at a later date
+than the pueblo. As may be seen from the illustration
+(Pl. <span class="smallroman">XV</span>), the walls are
+roughly built of large slabs of sandstone of various sizes. The work is
+rather better than that of modern Tusayan, but much inferior to that
+seen in the skillfully laid masonry of the ruins farther north. In many
+of these walls an occasional sandstone slab of great length is
+introduced. This peculiarity is probably due to the character of the
+local material, which is more varied than usual. All of the stone here
+used is taken from ledges in the immediate vicinity. It is usually light
+in color and of loose texture, crumbling readily, and subject to rapid
+decay, particularly when used in walls that are roughly constructed.</p>
+
+<p class="illustration">
+<a name="plateXV" id="plateXV"> </a>
+<img src="images/plate15.jpg" width="460" height="271"
+alt="Payupki walls"
+title="Payupki walls" /></p>
+<p class="caption smallcaps">
+Plate XV. Standing walls of Payupki.</p>
+
+<p>Much of the pottery scattered about this ruin has a very modern
+appearance, some of it having the characteristic surface finish and
+color of the Rio Grande ware. A&nbsp;small amount of ancient pottery also
+occurs here, some of the fragments of black and white ware displaying
+intricate fret patterns. The quantity of these potsherds is quite small,
+and they occur mainly in the refuse heaps on the mesa edge.</p>
+
+<p>This ruin combines a clearly defined defensive plan with utilization
+of one of the most inaccessible sites in the vicinity, producing
+altogether a combination that would seem to have been impregnable by any
+of the ordinary methods of Indian warfare.</p>
+
+<p>
+<a name="page061" id="page061"> </a>
+</p>
+
+<h5 class="section"><a name="chapII_4" id="chapII_4">
+PLANS AND DESCRIPTIONS OF THE INHABITED VILLAGES.</a></h5>
+
+<p class="illustration">
+<a name="plateXVII" id="plateXVII"> </a>
+<img src="images/plate17.jpg" width="482" height="318"
+alt="Hano"
+title="Hano" /></p>
+<p class="caption smallcaps">
+Plate XVII. View of Hano.</p>
+
+<h6><a name="chapII_4_1" id="chapII_4_1">
+HANO.</a></h6>
+
+<p>The village of Hano, or Tewa, is intrusive and does not properly
+belong to the Tusayan stock, as appears from their own traditions. It is
+somewhat loosely planned
+(Pl. <span class="smallroman">XVI</span>) and extends nearly across the mesa tongue,
+which is here quite narrow, and in general there is no appreciable
+difference between the arrangement here followed and that of the other
+villages. One portion of the village, however, designated as House No. 5
+on the plan, differs somewhat from the typical arrangement in long
+irregular rows, and approaches the pyramidal form found among the more
+eastern pueblos, notably at Taos and in portions of Zuñi. As has been
+seen, tradition tells us that this site was taken up by the Tewa at a
+late date and subsequent to the Spanish conquest; but some houses,
+formerly belonging to the Asa people, formed a nucleus about which the
+Tewa village of Hano was constructed. The pyramidal house occupied by
+the old governor, is said to have been built over such remains of
+earlier houses.</p>
+
+<p class="illustration">
+<a name="plateXVI" id="plateXVI"
+href="images/plate16.png">
+<img src="images/plate16thumb.png" width="369" height="142"
+alt="plan of Hano"
+title="plan of Hano" /></a></p>
+<p class="caption">
+<a href="images/plate16.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XVI. Plan of Hano</span> (<i>rotated</i>).</p>
+
+<p>The largest building in the village appears to have been added to
+from time to time as necessity for additional space arose, resulting in
+much the same arrangement as that characterizing most of the Tusayan
+houses, viz, a&nbsp;long, irregular row, not more than three stories
+high at any point. The small range marked No.&nbsp;4 on the plan
+contains a section three stories high, as does the long row and also
+the pyramidal cluster above referred to. (<a href="#plateXVII">Pl.
+<span class="smallroman">XVII</span></a>.)</p>
+
+<p>The kivas are two in number, one situated within the village and the
+other occupying a position in the margin of the mesa. These ceremonial
+chambers, so far as observed, appear to be much like those in the other
+villages, both in external and internal arrangement.</p>
+
+<p>Within the last few years the horse trail that afforded access to
+Hano and Sichumovi has been converted into a wagon road, and during the
+progress of this work, under the supervision of an American,
+considerable blasting was done. Among other changes the marginal kiva,
+which was nearly in line with the proposed improvements, was removed.
+This was done despite the protest of the older men, and their
+predictions of dire calamity sure to follow such sacrilege. A&nbsp;new site
+was selected close by and the newly acquired knowledge of the use of
+powder was utilized in blasting out the excavation for this subterranean
+chamber. It is altogether probable that the sites of all former kivas
+were largely determined by accident, these rooms being built at points
+where natural fissures or open spaces in the broken mesa edge furnished
+a suitable depression or cavity. The builders were not capable of
+working the stone to any great extent, and their operations were
+probably limited to trimming out such natural excavations and in part
+lining them with masonry.</p>
+
+<p>There is a very noticeable scarcity of roof-holes, aside from those
+of the first terrace. As a rule the first terrace has no external
+openings
+<a name="page062" id="page062"> </a>
+on the ground and is entered from its roof through large trap-doors, as
+shown on the plans. The lower rooms within this first terrace are not
+inhabited, but are used as storerooms.</p>
+
+<p>At several points ruined walls are seen, remains of abandoned rooms
+that have fallen into decay. Occasionally a rough, buttress-like
+projection from a wall is the only vestige of a room or a cluster of
+rooms, all traces on the ground having been obliterated.</p>
+
+<p>The mesa summit, that forms the site of this village, is nearly
+level, with very little earth on its surface. A&nbsp;thin accumulation of
+soil and rubbish lightly covers the inner court, but outside, along the
+face of the long row, the bare rock is exposed continuously. Where the
+rooms have been abandoned and the walls have fallen, the stones have all
+been utilized in later constructions, leaving no vestige of the former
+wall on the rocky site, as the stones of the masonry have always been
+set upon the surface of the rock, with no excavation or preparation of
+footings of any kind.</p>
+
+<p class="illustration">
+<a name="plateXIX" id="plateXIX"> </a>
+<img src="images/plate19.jpg" width="482" height="320"
+alt="Sichumovi"
+title="Sichumovi" /></p>
+<p class="caption smallcaps">
+Plate XIX. View of Sichumovi.</p>
+
+<h6><a name="chapII_4_2" id="chapII_4_2">
+SICHUMOVI.</a></h6>
+
+<p>According to traditional accounts this village was founded at a more
+recent date than Walpi. It has, however, undergone many changes since
+its first establishment.</p>
+
+<p>The principal building is a long irregular row, <ins class="correction" title="text reads ‘similiar’">similar</ins> to that of
+Hano
+(Pl. <span class="smallroman">XVIII</span>). A&nbsp;portion of an L-shaped cluster west of
+this row, and a small row near it parallel to the main building, form a
+rude approximation to the inclosed court arrangement. The terracing
+here, however, is not always on the court side, whereas in ancient
+examples such arrangement was an essential defensive feature, as the
+court furnished the only approach to upper terraces. In all of these
+villages there is a noticeable tendency to face the rows eastward
+instead of toward the court. The motive of such uniformity of direction
+in the houses must have been strong, to counteract the tendency to
+adhere to the ancient arrangement. The two kivas of the village are
+built side by side, in contact, probably on account of the presence at
+this point of a favorable fissure or depression in the mesa surface.</p>
+
+<p class="illustration">
+<a name="plateXVIII" id="plateXVIII"
+href="images/plate18.png">
+<img src="images/plate18thumb.png" width="494" height="252"
+alt="plan of Sichumovi"
+title="plan of Sichumovi" /></a></p>
+<p class="caption">
+<a href="images/plate18.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XVIII. Plan of Sichumovi.</span></p>
+
+<p>On the south side of the village are the remains of two small
+clusters of rooms that apparently have been abandoned a long time. A
+portion of a room still bounded by standing walls has been utilized as a
+corral for burros (<a href="#plateXIX">Pl. <span class="smallroman">XIX</span></a>).</p>
+
+<p>At this village are three small detached houses, each composed of but
+a single room, a&nbsp;feature not at all in keeping with the spirit of pueblo
+construction. In this instance it is probably due to the selection of
+the village as the residence of whites connected with the agency or
+school. Of these single-room houses, one, near the south end of the long
+row, was being built by an American, who was living in another such
+house near the middle of this row. The third house, although fairly well
+preserved at the time of the survey, was abandoned and falling into
+ruin. Adjoining the middle one of these three buildings on
+<a name="page063" id="page063"> </a>
+the south side are the outlines of two small compartments, which were
+evidently built as corrals for burros and are still used for that
+purpose.</p>
+
+<p>This village, though limited to two stories in height, has, like the
+others of the first mesa, a&nbsp;number of roof holes or trapdoors in the
+upper story, an approach to the Zuñi practice. This feature among the
+Tusayan villages is probably due to intercourse with the more eastern
+pueblos, for it seems to occur chiefly among those having such
+communication most frequently. Its presence is probably the result
+simply of borrowing a convenient feature from those who invented it to
+meet a necessity. The conditions under which the houses were built have
+hardly been such as to stimulate the Tusayan to the invention of such a
+device. The uniform height of the second-story roofs seen in this
+village, constituting an almost unbroken level, is a rather exceptional
+feature in pueblo architecture. Only one depression occurs in the whole
+length of the main row.</p>
+
+<p class="illustration">
+<a name="plateXXI" id="plateXXI"> </a>
+<img src="images/plate21.jpg" width="482" height="318"
+alt="Walpi"
+title="Walpi" /></p>
+<p class="caption smallcaps">
+Plate XXI. View of Walpi.</p>
+
+<h6><a name="chapII_4_3" id="chapII_4_3">
+WALPI.</a></h6>
+
+<p>Of all the pueblos, occupied or in ruins, within the provinces of
+Tusayan and Cibola, Walpi exhibits the widest departure from the typical
+pueblo arrangement
+(Pl. <span class="smallroman">XX</span>).</p>
+
+<p>The carelessness characteristic of Tusayan architecture seems to have
+reached its culmination here. The confused arrangement of the rooms,
+mainly due to the irregularities of the site, contrasts with the work at
+some of the other villages, and bears no comparison with much of the
+ancient work. The rooms seem to have been clustered together with very
+little regard to symmetry, and right angles are very unusual. (See
+Fig.&nbsp;8.)</p>
+
+<table class="figures" summary="illustrations">
+<tr>
+<td class="picture">
+<a name="plateXX" id="plateXX"
+href="images/plate20.png">
+<img src="images/plate20thumb.png" width="214" height="512"
+alt="plan of Walpi"
+title="plan of Walpi" /></a></td>
+<td class="picture">
+<a name="fig8" id="fig8"> </a>
+<img src="images/fig8.png" width="220" height="693"
+alt="Walpi topography"
+title="Walpi topography" /></td>
+</tr>
+<tr>
+<td class="caption">
+<a href="images/plate20.png">full size</a><br/>
+<br/>
+<span class="smallcaps">Plate XX. Plan of Walpi.</span>
+</td>
+<td class="caption"><span class="smallcaps">Fig. 8.</span>
+Topography<br/>
+of the site of Walpi.
+</td>
+</tr>
+</table>
+
+<p>The general plan of the village of to-day confirms the traditional
+accounts of its foundation. According to these its growth was gradual,
+beginning with a few small clusters, which were added to from time to
+time as the inhabitants of the lower site upon the spur of the mesa,
+where the mission was established, moved up and joined the pioneers on
+the summit. It is probable that some small rooms or clusters were built
+on this conspicuous promontory soon after the first occupation of this
+region, on account of its exceptionally favorable position as an outlook
+over the fields (<a href="#plateXXI">Pl. <span class="smallroman">XXI</span></a>).</p>
+
+<p>Though the peculiar conformation of the site on which the village has
+been built has produced an unusual irregularity of arrangement, yet even
+here an imperfect example of the typical inclosed court may be found, at
+one point containing the principal kiva or ceremonial chamber of the
+village. It is probable that the accidental occurrence of a suitable
+break or depression in the mesa top determined the position of this kiva
+at an early date and that the first buildings clustered about this
+point.</p>
+
+<p>A unique feature in this kiva is its connection with a second
+subterranean chamber, reached from the kiva through an ordinary doorway.
+The depression used for the kiva site must have been either larger than
+was needed or of such form that it could not be thrown into one
+rectangular
+<a name="page064" id="page064"> </a>
+chamber. It was impossible to ascertain the form of this second room, as
+the writer was not permitted to approach the connecting doorway, which
+was closed with a slab of cottonwood. This chamber, used as a receptacle
+for religious paraphernalia, was said to connect with an upper room
+within the cluster of dwellings close by, but this could not be verified
+at the time of our visit. The plan indicates that such an adjoining
+chamber, if of average size, could easily extend partly under the
+dwellings on either the west or south side of the court. The rocky mesa
+summit is quite irregular in this vicinity, with rather an abrupt ascent
+to the passageway on the south as shown in Pl.
+<span class="smallroman">XXII</span>. Southeast from the kiva
+there is a large mass of rocks projecting above the general level, which
+has been incorporated into a cluster of dwelling rooms. Its character
+and relation to the architecture may be seen in <a href="#plateXXIII">Pl. <span class="smallroman">XXIII</span></a>. So
+irregular a site was not likely to be built upon until most of the
+available level surface had been taken up, for even in masonry of much
+higher development than can be found in Tusayan the builders, unable to
+overcome such obstacles as a large mass of protruding rock, have
+accommodated their buildings to such irregularities. This is very
+noticeable in the center cluster of Mummy Cave (in&nbsp;Canyon del Muerto,
+Arizona), where a large mass of sandstone, fallen from the roof of the
+rocky niche in which the houses were built, has been incorporated into
+the house cluster. Between this and another kiva to the north the mesa
+top is nearly level. The latter kiva is
+<a name="page065" id="page065"> </a>
+also subterranean and was built in an accidental break in sandstone. On
+the very margin of this fissure stands a curious isolated rock that has
+survived the general erosion of the mesa. It is near this rock that the
+celebrated Snake-dance takes place, although the kiva from which the
+dancers emerge to perform the open air ceremony is not adjacent to this
+monument (<a href="#plateXXIV">Pl. <span class="smallroman">XXIV</span></a>).</p>
+
+<p class="illustration">
+<a name="plateXXII" id="plateXXII"> </a>
+<img src="images/plate22.png" width="477" height="289"
+alt="Walpi passageway"
+title="Walpi passageway" /></p>
+<p class="caption smallcaps">
+Plate XXII. South passageway of Walpi.</p>
+
+<p>A short distance farther toward the north occur a group of three more
+kivas. These are on the very brink of the mesa, and have been built in
+recesses in the crowning ledge of sandstone of such size that they could
+conveniently be walled up on the outside, the outer surface of rude
+walls being continuous with the precipitous rock face of the mesa.</p>
+
+<p class="illustration">
+<a name="plateXXIII" id="plateXXIII"> </a>
+<img src="images/plate23.png" width="457" height="323"
+alt="Walpi houses"
+title="Walpi houses" /></p>
+<p class="caption smallcaps">
+Plate XXIII. Houses built over irregular sites, Walpi.</p>
+
+<p>The positions of all these ceremonial chambers seem to correspond
+with exceptionally rough and broken portions of the mesa top, showing
+that their location in relation to the dwelling clusters was due largely
+to accident and does not possess the significance that position does in
+many ancient pueblos built on level and unencumbered sites, where the
+adjustment was not controlled by the character of the surface.</p>
+
+<p class="illustration">
+<a name="plateXXIV" id="plateXXIV"> </a>
+<img src="images/plate24.jpg" width="481" height="321"
+alt="Walpi kiva"
+title="Walpi kiva" /></p>
+<p class="caption smallcaps">
+Plate XXIV. Dance rock and kiva, Walpi.</p>
+
+<p>The Walpi promontory is so abrupt and difficult of access that there
+is no trail by which horses can be brought to the village without
+passing through Hano and Sichumovi, traversing the whole length of the
+mesa tongue, and crossing a rough break or depression in the mesa summit
+close to the village. Several foot trails give access to the village,
+partly over the nearly perpendicular faces of rock. All of these have
+required to be artificially improved in order to render them
+practicable. Plate <span class="smallroman">XXV</span>, from a
+photograph, illustrates one of these trails, which, a&nbsp;portion of the
+way, leads up between a huge detached slab of sandstone and the face of
+the mesa. It will be seen that the trail at this point consists to a
+large extent of stone steps that have been built in. At the top of the
+flight of steps where the trail to the mesa summit turns to the right
+the solid sandstone has been pecked out so as to furnish a series of
+footholes, or steps, with no projection or hold of any kind alongside.
+There are several trails on the west side of the mesa leading down both
+from Walpi and Sichúmovi to a spring below, which are quite as abrupt as
+the example illustrated. All the water used in these villages, except
+such as is caught during showers in the basin-like water pockets of the
+mesa top, is laboriously brought up these trails in large earthenware
+canteens slung over the backs of the women.</p>
+
+<p class="illustration">
+<a name="plateXXV" id="plateXXV"> </a>
+<img src="images/plate25.jpg" width="359" height="486"
+alt="trail to Walpi" title="trail to Walpi" /></p>
+<p class="caption smallcaps">
+Plate XXV. Foot trail to Walpi.
+</p>
+
+<p>Supplies of every kind, provisions, harvested crops, fuel, etc., are
+brought up these steep trails, and often from a distance of several
+miles, yet these conservative people tenaciously cling to the
+inconvenient situation selected by their fathers long after the
+necessity for so doing has passed away. At present no argument of
+convenience or comfort seems sufficient to induce them to abandon their
+homes on the rocky heights and build near the water supply and the
+fields on which they depend for subsistence.</p>
+
+<p>
+<a name="page066" id="page066"> </a>
+One of the trails referred to in the description of Hano has been
+converted into a wagon road, as has been already described. The Indians
+preferred to expend the enormous amount of labor necessary to convert
+this bridle path into a wagon road in order slightly to overcome the
+inconvenience of transporting every necessary to the mesa upon their own
+backs or by the assistance of burros. This concession to modern ideas is
+at best but a poor substitute for the convenience of homes built in the
+lower valleys.</p>
+
+<p class="illustration">
+<a name="plateXXVII" id="plateXXVII"> </a>
+<img src="images/plate27.jpg" width="482" height="320"
+alt="Mashongnavi"
+title="Mashongnavi" /></p>
+<p class="caption smallcaps">
+Plate XXVII. Mashongnavi with Shupaulovi in distance.</p>
+
+<h6><a name="chapII_4_4" id="chapII_4_4">
+MASHONGNAVI.</a></h6>
+
+<p>Mashongnavi, situated on the summit of a rocky knoll, is a compact
+though irregular village, and the manner in which it conforms to the
+general outline of the available ground is shown on the plan.
+Convenience of access to the fields on the east and to the other
+villages probably prompted the first occupation of the east end of this
+rocky butte
+(Pl. <span class="smallroman">XXVI</span>).</p>
+
+<p class="illustration">
+<a name="plateXXVI" id="plateXXVI"
+href="images/plate26.png">
+<img src="images/plate26thumb.png" width="370" height="264"
+alt="plan of Mashongnavi"
+title="plan of Mashongnavi" /></a></p>
+<p class="caption">
+<a href="images/plate26.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XXVI. Mashongnavi, plan.</span></p>
+
+<p>In Mashongnavi of to-day the eastern portion of the village forms a
+more decided court than do the other portions. The completeness in
+itself of this eastern end of the pueblo, in connection with the form of
+the adjoining rows, strongly suggests that this was the first portion of
+the pueblo built, although examination of the masonry and construction
+furnish but imperfect data as to the relative age of different portions
+of the village. One uniform gray tint, with only slight local variations
+in character and finish of masonry, imparts a monotonous effect of
+antiquity to the whole mass of dwellings. Here and there, at rare
+intervals, is seen a wall that has been newly plastered; but,
+ordinarily, masonry of 10 years’ age looks nearly as old as that built
+200 years earlier. Another feature that suggests the greater antiquity
+of the eastern court of the pueblo is the presence and manner of
+occurrence here of the kiva. The old builders may have been influenced
+to some extent in their choice of site by the presence of a favorable
+depression for the construction of a kiva, though this particular
+example of the ceremonial room is only partly subterranean. The other
+kivas are almost or quite below the ground level. Although a favorable
+depression might readily occur on the summit of the knoll, a&nbsp;deep
+cavity, suitable for the construction of the subterranean kiva, would
+not be likely to occur at such a distance from the margin of the
+sandstone ledge. The builders evidently preferred to adopt such half-way
+measures with their first kiva in order to
+<a name="page067" id="page067"> </a>
+secure its inclosure within the court, thus conforming to the typical
+pueblo arrangement. The numerous exceptions to this arrangement seen in
+Tusayan are due to local causes.
+<!---->
+<span class="floatleft caption">
+<a name="fig9" id="fig9"> </a>
+<img src="images/fig9.png" width="433" height="118"
+alt="Mashongnavi and Shupaulovi"
+title="Mashongnavi and Shupaulovi" /><br/>
+<span class="smallcaps">Fig. 9.</span>
+Mashongnavi and Shupaulovi from Shumopavi.</span>
+<!---->
+The general view of Mashongnavi given in <a href="#plateXXVII">Pl.
+<span class="smallroman">XXVII</span></a> shows that the site of this
+pueblo, as well as that of its neighbor, Shupaulovi, was not
+particularly defensible, and that this fact would have weight in
+securing adherence in the first portion
+<a name="page068" id="page068"> </a>
+of the pueblo built to the defensive inclosed court containing the
+ceremonial chamber. The plan strongly indicates that the other courts of
+the pueblo were added as the village grew, each added row facing toward
+the back of an older row, producing a series of courts, which, to the
+present time, show more terracing on their western sides. The eastern
+side of each court is formed, apparently, by a few additions
+<a name="page069" id="page069"> </a>
+of low rooms to what was originally an unbroken exterior wall, and which
+is still clearly traceable through these added rooms. Such an exterior
+wall is illustrated in <a href="#plateXVIII">Pl. <span class="smallroman">XVIII</span></a>. This process continued until the last
+cluster nearly filled the available site and a wing was thrown out
+corresponding to a tongue or spur of the knoll upon which it was built.
+Naturally the westernmost or newer portions show more clearly
+<a name="page070" id="page070"> </a>
+the evidence of additions and changes, but such evidence is not wholly
+wanting in the older portions. The large row that bounds the original
+eastern court on the west side may be seen on the plan to be of unusual
+width, having the largest number of rooms that form a terrace with
+western aspect; yet the nearly straight line once defining the original
+back wall of the court inclosing cluster on this side has not been
+obscured to any great extent by the later additions
+(Pl. <span class="smallroman">XXVIII</span>). This
+village furnishes the most striking example in the whole group of the
+manner in which a pueblo was gradually enlarged as increasing population
+demanded more space. Such additions were often carried out on a definite
+plan, although the results in Tusayan fall far short of the symmetry
+that characterizes many ruined pueblos in New Mexico and Arizona.</p>
+
+<p class="illustration">
+<a name="plateXXVIII" id="plateXXVIII"> </a>
+<img src="images/plate28.png" width="486" height="283"
+alt="back wall of house-row"
+title="back wall of house-row" /></p>
+<p class="caption smallcaps">
+Plate XXVIII. Back wall of a Mashongnavi house-row.</p>
+
+<p>A few of these ancient examples, especially some of the smaller ruins
+of the Chaco group, are so symmetrical in their arrangement that they
+seem to be the result of a single effort to carry out a clearly fixed
+plan. By far the largest number of pueblos, however, built among the
+southwest tablelands, if occupied for any length of time, must have been
+subject to irregular enlargement. In some ancient examples, such
+additions to the first plan undoubtedly took place without marring the
+general symmetry. This was the case at Pueblo Bonito, on the Chaco,
+where the symmetrical and even curve of the exterior defensive wall,
+which was at least four stories high, remained unbroken, while the large
+inclosed court was encroached upon by wings added to the inner terraces.
+These additions comfortably provided for a very large increase of
+population after the first building of the pueblo, without changing its
+exterior appearance.</p>
+
+<p>In order to make clearer this order of growth in Mashongnavi, a
+series of skeleton diagrams is added in Figs. 10,
+11, and 12, giving the
+outlines of the pueblo at various supposed periods in the course of its
+enlargement. The larger plan of the village (<a href="#plateXXVI">Pl.
+<span class="smallroman">XXVI</span></a>) serves as a key to these
+terrace outlines.</p>
+
+<table class="figures" summary="illustrations">
+<tr>
+<td class="picture">
+<a name="fig10" id="fig10" href="images/fig10.png">
+<img src="images/fig10thumb.png" width="162" height="309"
+alt="Mashongnavi"
+title="Mashongnavi" /></a></td>
+<td class="picture">
+<a name="fig11" id="fig11" href="images/fig11.png">
+<img src="images/fig11thumb.png" width="162" height="314"
+alt="Mashongnavi"
+title="Mashongnavi" /></a></td>
+<td class="picture">
+<a name="fig12" id="fig12" href="images/fig12.png">
+<img src="images/fig12thumb.png" width="166" height="307"
+alt="Mashongnavi"
+title="Mashongnavi" /></a></td>
+</tr>
+<tr>
+<td class="caption">
+<a href="images/fig10.png">full size</a></td>
+<td class="caption">
+<a href="images/fig11.png">full size</a></td>
+<td class="caption">
+<a href="images/fig12.png">full size</a></td>
+</tr>
+<tr>
+<td class="caption" colspan="3">
+<span class="smallcaps">Figs. 10,
+11, 12.</span>
+Diagrams showing growth of Mashongnavi.
+</td>
+</tr>
+</table>
+
+<p>The first diagram illustrates the supposed original cluster of the
+east court (Fig.&nbsp;10), the lines of which can
+be traced on the larger plan, and it includes the long, nearly straight
+line that marks the western edge of the third story. This diagram shows
+also, in dotted lines, the general plan that may have guided the first
+additions to the west. The second diagram (Fig.&nbsp;11)
+renders all the above material in full tint,
+again indicating further additions by dotted lines, and so on.
+(Fig.&nbsp;12.) The portions of a terrace, which face westward
+in the newer courts of the pueblo, illustrated in Pl.
+<span class="smallroman">XXIX</span>, were
+probably built after the western row, completing the inclosure, and were
+far enough advanced to indicate definitely an inclosed court, upon which
+the dwelling rooms faced.</p>
+
+<p class="illustration">
+<a name="plateXXIX" id="plateXXIX"> </a>
+<img src="images/plate29.jpg" width="447" height="256"
+alt="row in Mashongnavi"
+title="row in Mashongnavi" /></p>
+<p class="caption smallcaps">
+Plate XXIX. West side of a principal row in Mashongnavi.</p>
+
+<p>
+<br/>
+</p>
+
+<p class="illustration">
+<a name="plateXXXI" id="plateXXXI"> </a>
+<img src="images/plate31.jpg" width="482" height="319"
+alt="Shupaulovi"
+title="Shupaulovi" /></p>
+<p class="caption smallcaps">
+Plate XXXI. View of Shupaulovi.</p>
+
+<p>
+<a name="page071" id="page071"> </a>
+</p>
+
+<h6><a name="chapII_4_5" id="chapII_4_5">
+SHUPAULOVI.</a></h6>
+
+<p>This village, by far the smallest pueblo of the Tusayan group,
+illustrates a simple and direct use of the principle of the inclosed
+court. The plan
+(Pl. <span class="smallroman">XXX</span>) shows that the outer walls are scarcely
+broken by terraces, and nearly all the dwelling apartments open inwards
+upon the inclosure, in this respect closely following the previously
+described ancient type, although widely differing from it in the
+irregular disposition of the rooms.
+(Pl. <span
+class="smallroman">XXXI</span>) A comparison with the first of the
+series of diagrams illustrating the growth of Mashóngnavi, will show how
+similar the villages may have been at one stage, and how suitable a
+nucleus for a large pueblo this village would prove did space and
+character of the site permit. Most of the available summit of the rocky
+knoll has already been covered, as will be seen from the topographic
+sketch of the site (Fig.&nbsp;13). The plan shows
+also that some efforts at extension of the pueblo have been made, but
+the houses outside of the main cluster have been abandoned, and are
+rapidly going to ruin. Several small rooms occur on the outer faces of
+the rows, but it can be readily seen that they do not form a part of the
+original plan but were added to an already complete structure.</p>
+
+<p class="illustration">
+<a name="plateXXX" id="plateXXX"
+href="images/plate30.png">
+<img src="images/plate30thumb.png" width="395" height="218"
+alt="plan of Shupaulovi"
+title="plan of Shupaulovi" /></a></p>
+<p class="caption">
+<a href="images/plate30.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XXX. Plan of Shupaulovi.</span></p>
+
+<p class="illustration">
+<a name="fig13" id="fig13"> </a>
+<img src="images/fig13.png" width="442" height="314"
+alt="topography of Shupaulovi"
+title="topography of Shupaulovi" /></p>
+<p class="caption"><span class="smallcaps">Fig. 13.</span>
+Topography of the site of Shupaulovi.</p>
+
+<p>In the inclosed court of this pueblo occurs a small box-like stone
+inclosure, covered with a large slab, which is used as a sort of shrine
+or depository for the sacred plume sticks and other ceremonial
+offerings.
+<a name="page072" id="page072"> </a>
+This feature is found at some of the other villages, notably at
+Mashongnavi, in the central court, and at Hano, where it is located at
+some distance outside of the village, near the main trail to the
+mesa.</p>
+
+<p>The plan of this small village shows three covered passageways
+similar to those noted in Walpi on the first mesa, though their presence
+here can not be ascribed to the same motives that impelled the Walpi to
+build in this way; for the densely crowded site occupied by the latter
+compelled them to resort to this expedient. One of these is illustrated
+in Pl. <span class="smallroman">XXXII</span>. Its presence may be due in this instance
+to a determination to adhere to the protected court while seeking to
+secure convenient means of access to the inclosed area. It is remarkable
+that this, the smallest of the group, should contain this feature.</p>
+
+<p class="illustration">
+<a name="plateXXXII" id="plateXXXII"> </a>
+<img src="images/plate32.png" width="444" height="255"
+alt="Shupaulovi passageway"
+title="Shupaulovi passageway" /></p>
+<p class="caption smallcaps">
+Plate XXXII. A covered passageway of Shupaulovi.</p>
+
+<p>This village has but two kivas, one of which is on the rocky summit
+near the houses and the other on the lower ground near the foot of the
+trail that leads to the village. The upper kiva is nearly subterranean,
+the roof being but a little above the ground on the side toward the
+village, but as the rocky site slopes away a portion of side wall is
+exposed. This was roughly built, with no attempt to impart finish to its
+outer face, either by careful laying of the masonry or by plastering.
+Pl. <span class="smallroman">XXXIII</span>
+illustrates this kiva in connection with the southeastern portion of the
+village. The plan shows how the prolongation of the side rows of the
+village forms a suggestion of a second court. Its development into any
+such feature as the secondary or additional courts of Mashóngnavi was
+prohibited by the restricted site.</p>
+
+<p class="illustration">
+<a name="plateXXXIII" id="plateXXXIII"> </a>
+<img src="images/plate33.png" width="452" height="242"
+alt="Shupaulovi kiva"
+title="Shupaulovi kiva" /></p>
+<p class="caption smallcaps">
+Plate XXXIII. The chief kiva of Shupaulovi.</p>
+
+<p>As in other villages of this group, the desire to adhere to the
+subterranean form of ceremonial chamber outweighed the inducement to
+place it within the village, or, in the case of the second kiva, even of
+placing it on the same level as the houses, which are 30 feet above it
+with an abrupt trail between them. It is curious and instructive to see
+a room, the use of which is so intimately connected with the inner life
+of the village, placed in such a comparatively remote and inaccessible
+position through an intensely conservative adherence to ancient practice
+requiring this chamber to be depressed.</p>
+
+<p>The general view of the village given in <a href="#plateXXXI">Pl.
+<span class="smallroman">XXXI</span></a> strikingly illustrates the
+blending of the rectangular forms of the architecture with the angular
+and sharply defined fractures of the surrounding rock. This close
+correspondence in form between the architecture and its immediate
+surroundings is greatly heightened by the similarity in color. Mr.
+Stephen has called attention to a similar effect on the western side of
+Walpi and its adjacent mesa edge, which he thought indicates a distinct
+effort at concealment on the part of the builders, by blending the
+architecture with the surroundings. This similarity of effect is often
+accidental, and due to the fact that the materials of the houses and of
+the mesas on which they are built are identical. Even in the case of
+Walpi, cited by Mr. Stephen, where the buildings come to the very mesa
+edge, and in their vertical lines appear to carry out the effect of
+<a name="page073" id="page073"> </a>
+the vertical fissures in the upper benches of sandstone, there was no
+intentional concealment. It is more likely that, through the necessity
+of building close to the limits of the crowded sites, a&nbsp;certain degree
+of correspondence was unintentionally produced between the jogs and
+angles of the houses and those of the mesa edge.</p>
+
+<p>Such correspondence with the surroundings, which forms a striking
+feature of many primitive types of construction where intention of
+concealment had no part, is doubtless mainly due to the use of the most
+available material, although the expression of a type of construction
+that has prevailed for ages in one locality would perhaps be somewhat
+influenced by constantly recurring forms in its environment. In the
+system of building under consideration, such influence would, however,
+be a very minute fraction in the sum of factors producing the type and
+could never account for such examples of special and detailed
+correspondence as the cases cited, nor could it have any weight in
+developing a rectangular type of architecture.</p>
+
+<p>In the development of primitive arts the advances are slow and
+laborious, and are produced by adding small increments to current
+knowledge. So vague and undefined an influence as that exerted by the
+larger forms of surrounding nature are seldom recognized and
+acknowledged by the artisan; on the contrary, experiments, resulting in
+improvement, are largely prompted by practical requirements.
+Particularly is this the case in the art of house-building.</p>
+
+<p class="illustration">
+<a name="plateXXXV" id="plateXXXV"> </a>
+<img src="images/plate35.jpg" width="481" height="318"
+alt="Shumopavi"
+title="Shumopavi" /></p>
+<p class="caption smallcaps">
+Plate XXXV. View of Shumopavi.</p>
+
+<h6><a name="chapII_4_6" id="chapII_4_6">
+SHUMOPAVI.</a></h6>
+
+<p>This village, although not so isolated as Oraibi, has no near
+neighbors and is little visited by whites or Indians. The inhabitants
+are rarely seen at the trading post to which the others resort, and they
+seem to be pretty well off and independent as compared with their
+neighbors of the other villages
+(Pl. <span class="smallroman">XXXIV</span>). The houses and courts are in keeping
+with the general character of the people and exhibit a degree of
+neatness and thrift that contrasts sharply with the tumble-down
+appearance of some of the other villages, especially those of the Middle
+Mesa and Oraibi. There is a general air of newness about the place,
+though it is questionable whether the architecture is more recent than
+that of the other villages of Tusayan. This effect is partly due to the
+custom of frequently renewing the coating of mud plaster. In most of the
+villages little care is taken to repair the houses until the owner feels
+that to postpone such action longer would endanger its stability. Many
+of the illustrations in this chapter indicate the proportion of rough
+masonry usually exposed in the walls.
+At Shumopavi
+(Pl. <span class="smallroman">XXXV</span>), however,
+most of the walls are smoothly plastered. In this respect they resemble
+Zuñi and the eastern pueblos, where but little naked masonry can be
+seen. Another feature that adds to the effect of neatness and finish in
+this village is the frequent use of a whitewash of
+<a name="page074" id="page074"> </a>
+gypsum on the outer face of the walls. This wash is used partly as an
+ornament and partly as protection against the rain. The material, called
+by the Mexicans “yeso,” is very commonly used in the interior of their
+houses throughout this region, both by Mexicans and Indians. More rarely
+it is used among the pueblos as an external wash. Here, however, its
+external use forms quite a distinctive feature of the village. The same
+custom in several of the cliff houses of Canyon de Chelly attests the
+comparative antiquity of the practice, though not necessarily its
+pre-Columbian origin.</p>
+
+<p class="illustration">
+<a name="plateXXXIV" id="plateXXXIV"
+href="images/plate34.png">
+<img src="images/plate34thumb.png" width="330" height="260"
+alt="plan of Shumopavi"
+title="plan of Shumopavi" /></a></p>
+<p class="caption">
+<a href="images/plate34.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XXXIV. Plan of Shumopavi.</span></p>
+
+<p>Shumopavi, compared with the other villages, shows less evidence of
+having been built on the open court idea, as the partial inclosures
+assume such elongated forms in the direction of the long, straight rows
+of the rooms; yet examination shows that the idea was present to a
+slight extent.</p>
+
+<p>At the southeast corner of the pueblo there is a very marked approach
+to the open court, though it is quite evident that the easternmost row
+has its back to the court, and that the few rooms that face the other
+way are later additions. In fact, the plan of the village and the
+distribution of the terraces seem to indicate that the first
+construction consisted only of a single row facing nearly east, and was
+not an inclosed court, and that a further addition to the pueblo assumed
+nearly the same form, with its face or terraced side toward the back of
+the first row only partly adapting itself by the addition of a few small
+rooms later, to the court arrangement, the same operation being
+continued, but in a form not so clearly defined, still farther toward
+the west.</p>
+
+<p>The second court is not defined on the west by such a distinct row as
+the others, and the smaller clusters that to some extent break the long,
+straight arrangement bring about an approximation to a court, though
+here again the terraces only partly face it, the eastern side being
+bounded by the long exterior wall of the middle row, two and three
+stories high, and almost unbroken throughout its entire length of 400
+feet. The broken character of the small western row, in conjunction with
+the clusters near it, imparts a distinct effect to the plan of this
+portion, differentiating it in character from the masses of houses
+formed by the other two rows. The latter are connected at their southern
+end by a short cross row which converts this portion of the village
+practically into a single large house. Two covered passageways, however,
+which are designated on the plan, give access to the southeast portion
+of the court. This portion is partly separated from the north half of
+the inclosure by encroaching groups of rooms. This partial division of
+the original narrow and long court appears to be of later date.</p>
+
+<p>The kivas are four in number, of which but one is within the village.
+The latter occupies a partly inclosed position in the southwest portion,
+and probably owes its place to some local facility for building a kiva
+on this spot in the nature of a depression in the mesa summit; but even
+<a name="page075" id="page075"> </a>
+with such aid the ceremonial chamber was built only partly under ground,
+as may be seen in Fig. 14. The remaining three
+kivas are more distinctly subterranean, and in order to obtain a
+suitable site one of these was located at a distance of more than 200
+feet from the village, toward the mesa edge on the east. The other two
+are built very close together, apparently in contact, just beyond the
+northern extremity of the village. One of these is about 3&nbsp;feet above
+the surface at one corner, but nearly on a level with the ground at its
+western side where it adjoins its neighbor. These two kivas are
+illustrated in <a href="#plateLXXXVIII">Pl. <span class="smallroman">LXXXVIII</span></a> and <a href="#fig21">Fig. 21</a>.</p>
+
+<p class="illustration">
+<a name="fig14" id="fig14"> </a>
+<img src="images/fig14.png" width="433" height="213"
+alt="Shumopavi kiva"
+title="Shumopavi kiva" /></p>
+<p class="caption"><span class="smallcaps">Fig. 14.</span>
+Court kiva of Shumopavi.</p>
+
+<p>Here again we find that the ceremonial chamber that forms so
+important a feature among these people, occupies no fixed relation to
+the dwellings, and its location is largely a matter of accident, a&nbsp;site
+that would admit of the partial excavation or sinking of the chamber
+below the surface being the main requisite. The northwest court contains
+another of the small inclosed shrines already described as occurring at
+Shupaulovi and elsewhere.</p>
+
+<p>The stonework of this village also possesses a somewhat distinctive
+character. Exposed masonry, though comparatively rare in this
+well-plastered pueblo, shows that stones of suitable fracture were
+selected and that they were more carefully laid than in the other
+villages. In places the masonry bears a close resemblance to some of the
+ancient work, where the spaces between the longer tablets of stone were
+carefully chinked with small bits of stone, bringing the whole wall to a
+uniform face, and is much in advance of the ordinary slovenly methods of
+construction followed in Tusayan.</p>
+
+<p>Shumopavi is the successor of an older village of that name, one of
+the cities of the ancient Tusayan visited by a detachment of Coronado’s
+expedition in 1540. The ruins of that village still exist, and they
+formerly contained vestiges of the old church and mission buildings
+established
+<a name="page076" id="page076"> </a>
+by the monks. The squared beams from these buildings were considered
+valuable enough to be incorporated in the construction of ceremonial
+kivas in some of the Tusayan villages. This old site was not visited by
+the party.</p>
+
+<h6><a name="chapII_4_7" id="chapII_4_7">
+ORAIBI.</a></h6>
+
+<p>This is one of the largest modern pueblos, and contains nearly half
+the population of Tusayan; yet its great size has not materially
+affected the arrangement of the dwellings. The general plan (see Pl.
+<span class="smallroman">XXXVI</span>), simply shows an unusually
+large collection of typical Tusayan house-rows, with the general
+tendency to face eastward displayed in the other villages of the group.
+There is a remarkable uniformity in the direction of the rows, but there
+are no indications of the order in which the successive additions to the
+village were made, such as were found at Mashóngnavi.</p>
+
+<p class="mynote">
+The white strip along the middle of this plan represents the area near a
+tight fold in the printed original. The width of the unreadable area is
+conjectural.</p>
+
+<!--in pocket-->
+<p class="illustration">
+<a name="plateXXXVI" id="plateXXXVI"
+href="images/plate36.png">
+<img src="images/plate36thumb.png" width="425" height="414"
+alt="plan of Oraibi"
+title="plan of Oraibi" /></a></p>
+<p class="caption">
+<a href="images/plate36.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XXXVI. Oraibi, plan.</span></p>
+
+<p class="illustration">
+<a name="plateXXXVII" id="plateXXXVII"> </a>
+<img src="images/plate37.png" width="448" height="674"
+alt="key to Oraibi plan"
+title="key to Oraibi plan" /></p>
+<p class="caption smallcaps">
+Plate XXXVII. Key to the Oraibi plan, also showing localization of
+gentes.</p>
+
+<p>The clusters of rooms do not surpass the average dimensions of those
+in the smaller villages. In five of the clusters in Oraibi a height of
+four stories is reached by a few rooms; a&nbsp;height seen also in Walpi.</p>
+
+<p class="illustration">
+<a name="plateXXXVIII" id="plateXXXVIII"> </a>
+<img src="images/plate38.jpg" width="485" height="311"
+alt="Oraibi court"
+title="Oraibi court" /></p>
+<p class="caption smallcaps">
+Plate XXXVIII. A court of Oraibi.</p>
+
+<p>At several points in Oraibi, notably on the west side of cluster No.
+7, may be seen what appears to be low terraces faced with rough masonry.
+The same thing is also seen at Walpi, on the west side of the
+northernmost cluster. This effect is produced by the gradual filling in
+of abandoned and broken-down marginal houses, with fallen masonry and
+drifted sand. The appearance is that of intentional construction, as may
+be seen in Pl. <span class="smallroman">XXXIX</span>.</p>
+
+<p class="illustration">
+<a name="plateXXXIX" id="plateXXXIX"> </a>
+<img src="images/plate39.jpg" width="451" height="264"
+alt="Oraibi terraces"
+title="Oraibi terraces" /></p>
+<p class="caption smallcaps">
+Plate XXXIX. Masonry terraces of Oraibi.</p>
+
+<p>The rarity of covered passageways in this village is noteworthy, and
+emphasizes the marked difference in the character of the Tusayan and
+Zuñi ground plans. The close crowding of rooms in the latter has made a
+feature of the covered way, which in the scattered plan of Oraibi is
+rarely called for. When found it does not seem an outgrowth of the same
+conditions that led to its adoption in Zuñi. A&nbsp;glance at the plans will
+show how different has been the effect of the immediate environment in
+the two cases. In Zuñi, built on a very slight knoll in the open plain,
+the absence of a defensive site has produced unusual development of the
+defensive features of the architecture, and the result is a remarkably
+dense clustering of the dwellings. At Tusayan, on the other hand, the
+largest village of the group does not differ in character from the
+smallest. Occupation of a defensive site has there, in a measure taken
+the place of a special defensive arrangement, or close clustering of
+rooms. Oraibi is laid out quite as openly as any other of the group, and
+as additions to its size have from time to time been made the builders
+have, in the absence of the defensive motive for crowding the rows or
+groups into large clusters, simply followed the usual arrangement. The
+crowding that brought about the use of the covered way was due in Walpi
+to restricted site, as nearly all the available summit of its rocky
+promontory has been covered with buildings. In Zuñi, on
+<a name="page077" id="page077"> </a>
+the other hand, it was the necessity for defense that led to the close
+clustering of the dwellings and the consequent employment of the covered
+way.</p>
+
+<p class="illustration">
+<a name="plateXL" id="plateXL"> </a>
+<img src="images/plate40.jpg" width="371" height="264"
+alt="Oraibi house row"
+title="Oraibi house row" /></p>
+<p class="caption smallcaps">
+Plate XL. Oraibi house row, showing court side.</p>
+
+<p>A further contrast between the general plans of Oraibi and Zuñi is
+afforded in the different manner in which the roof openings have been
+employed in the two cases. The plan of Zuñi, <a href="#plateLXXVI">Pl.
+<span class="smallroman">LXXVI</span></a>, shows great numbers of
+small openings, nearly all of which are intended exclusively for the
+admission of light, a&nbsp;few only being provided with ladders. In Oraibi,
+on the other hand, there are only seventeen roof openings above the
+first terrace, and of these not more than half are intended for the
+admission of light. The device is correspondingly rare in other villages
+of the group, particularly in those west of the first mesa. In
+Mashóngnavi the restricted use of the roof openings is particularly
+noticeable; they all are of the same type as those used for access to
+first terrace rooms. There is but one roof opening in a second story. An
+examination of the plan, <a href="#plateXXX">Pl. <span class="smallroman">XXX</span></a>, will show that in Shupaúlovi but two such
+openings occur above the first terrace, and in the large village of
+Shumopavi, <a href="#plateXXXIV">Pl. <span class="smallroman">XXXIV</span></a>, only about eight. None of the smaller
+villages can be fairly compared with Zuñi in the employment of this
+feature, but in Oraibi we should expect to find its use much more
+general, were it not for the fact that the defensive site has taken the
+place of the close clustering of rooms seen in the exposed village of
+Zuñi, and, in consequence, the devices for the admission of light still
+adhere to the more primitive arrangement (Pls. <span class="smallroman">XL</span> and <span class="smallroman">XLI</span>).</p>
+
+<p class="illustration">
+<a name="plateXLI" id="plateXLI"> </a>
+<img src="images/plate41.jpg" width="456" height="270"
+alt="Oraibi house row"
+title="Oraibi house row" /></p>
+<p class="caption smallcaps">
+Plate XLI. Back of Oraibi house row.</p>
+
+<p>The highest type of pueblo construction, embodied in the large
+communal fortress houses of the valleys, could have developed only as
+the builders learned to rely for protection more upon their architecture
+and less upon the sites occupied. So long as the sites furnished a large
+proportion of the defensive efficiency of a village, the invention of
+the builders was not stimulated to substitute artificial for natural
+advantages. Change of location and consequent development must
+frequently have taken place owing to the extreme inconvenience of
+defensive sites to the sources of subsistence.</p>
+
+<p>The builders of large valley pueblos must frequently have been forced
+to resort hastily to defensive sites on finding that the valley towns
+were unfitted to withstand attack. This seems to have been the case with
+the Tusayan; but that the Zuñi have adhered to their valley pueblo
+through great difficulties is clearly attested by the internal evidence
+of the architecture itself, even were other testimony altogether
+wanting.</p>
+
+<p class="illustration">
+<a name="plateXLIV" id="plateXLIV"> </a>
+<img src="images/plate44.jpg" width="453" height="292"
+alt="Moen-kopi"
+title="Moen-kopi" /></p>
+<p class="caption smallcaps">
+Plate XLIV. Moen-kopi.</p>
+
+<h6><a name="chapII_4_8" id="chapII_4_8">
+MOEN-KOPI.</a></h6>
+
+<p>About 50 miles west from Oraibi is a small settlement used by a few
+families from Oraibi during the farming season, known as Moen-kopi.
+(Pl. <span class="smallroman">XLIII</span>).
+The present village is comparatively recent, but, as is the case with
+many others, it has been built over the remains of an older settlement.
+It is said to have been founded within the memory of
+<a name="page078" id="page078"> </a>
+some of the Mormon pioneers at the neighboring town of Tuba City, named
+after an old Oraibi chief, recently deceased.</p>
+
+<p class="illustration">
+<a name="plateXLIII" id="plateXLIII"
+href="images/plate43.png">
+<img src="images/plate43thumb.png" width="413" height="186"
+alt="plan of Moen-kopi"
+title="plan of Moen-kopi" /></a></p>
+<p class="caption">
+<a href="images/plate43.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XLIII. Plan of Moen-kopi</span> (<i>rotated</i>).</p>
+
+<p>The site would probably have attracted a much larger number of
+settlers, had it not been so remote from the main pueblos of the
+province, as in many respects it far surpasses any of the present
+village sites. A&nbsp;large area of fertile soil can be conveniently
+irrigated from copious springs in the side of a small branch of the
+Moen-kopi wash. The village occupies a low, rounded knoll at the
+junction of this branch with the main wash, which on the opposite or
+southern side is quite precipitous. The gradual encroachments of the
+Mormons for the last twenty years have had some effect in keeping the
+Tusayan from more fully utilizing the advantages of this site
+(Pl. <span class="smallroman">XLII</span>).</p>
+
+<p class="illustration">
+<a name="plateXLII" id="plateXLII"> </a>
+<img src="images/plate42.png" width="452" height="273"
+alt="Moen-kopi site"
+title="Moen-kopi site" /></p>
+<p class="caption smallcaps">
+Plate XLII. The site of Moen-kopi.</p>
+
+<p>Moen-kopi is built in two irregular rows of one-story houses. There
+are also two detached single rooms in the village&mdash;one of them
+built for a kiva, though apparently not in use at the time of our
+survey, and the other a small room with its principal door facing an
+adjoining row. The arrangement is about the same that prevails in the
+other villages, the rows having distinct back walls of rude masonry.</p>
+
+<p>Rough stone work predominates also in the fronts of the houses,
+though it is occasionally brought to a fair degree of finish. Some adobe
+work is incorporated in the masonry, and at one point a new and still
+unroofed room was seen built of adobe bricks on a stone foundation about
+a foot high. There is but little adobe masonry, however, in Tusayan. Its
+use in this case is probably due to Mormon influence.</p>
+
+<p>Moen-kopi was the headquarters of a large business enterprise of the
+Mormons a number of years ago. They attempted to concentrate the product
+of the Navajo wool trade at this point and to establish here a
+completely appointed woolen mill. Water was brought from a series of
+reservoirs built in a small valley several miles away, and was conducted
+to a point on the Moen-kopi knoll, near the end of the south row of
+houses, where the ditch terminated in a solidly constructed box of
+masonry. From this in turn the water was delivered through a large pipe
+to a turbine wheel, which furnished the motive power for the works. The
+ditch and masonry are shown on the ground plan of the village (<a href="#plateXLIII">Pl. <span class="smallroman">XLIII</span></a>). This
+mill was a large stone building, and no expense was spared in fitting it
+up with the most complete machinery. At the time of our visit the whole
+establishment had been abandoned for some years and was rapidly going to
+decay. The frames had been torn from the windows, and both the floor of
+the building and the ground in its vicinity were strewn with fragments
+of expensive machinery, broken cog-wheels, shafts, etc. This building is
+shown in Pl. <span class="smallroman">XLV</span>, and may serve as an illustration of the
+contrast between Tusayan masonry and modern stonemason’s work carried
+out with the same material. The comparison, however, is not entirely
+fair, as applied to the pueblo builders in general, as the Tusayan mason
+is unusually careless in his work. Many old examples are seen in which
+the finish of the walls compares very
+<a name="page079" id="page079"> </a>
+favorably with the American mason’s work, though the result is attained
+in a wholly different manner, viz, by close and careful chinking with
+numberless small tablets of stone. This process brings the wall to a
+remarkably smooth and even surface, the joints almost disappearing in
+the mosaic-like effect of the wall mass. The masonry of Moen-kopi is
+more than ordinarily rough, as the small village was probably built
+hastily and used for temporary occupation as a farming center. In the
+winter the place is usually abandoned, the few families occupying it
+during the farming months returning to Oraibi for the season of
+festivities and ceremonials.</p>
+
+<p class="illustration">
+<a name="plateXLV" id="plateXLV"> </a>
+<img src="images/plate45.jpg" width="455" height="318"
+alt="Mormon mill"
+title="Mormon mill" /></p>
+<p class="caption smallcaps">
+Plate XLV. The Mormon mill at Moen-kopi.</p>
+
+<p>
+<a name="page080" id="page080"> </a>
+</p>
+
+<h4 class="chapter"><a name="chapIII" id="chapIII">
+CHAPTER III.</a></h4>
+
+<h5 class="extended">RUINS AND INHABITED VILLAGES OF CIBOLA.</h5>
+
+
+<h5 class="section"><a name="chapIII_1" id="chapIII_1">
+PHYSICAL FEATURES OF THE PROVINCE.</a></h5>
+
+<p>Though the surroundings of the Cibolan pueblos and ruins exhibit the
+ordinary characteristics of plateau scenery, they have not the
+monotonous and forbidding aspect that characterizes the mesas and
+valleys of Tusayan. The dusty sage brush and the stunted cedar and
+piñon, as in Tusayan, form a conspicuous feature of the landscape, but
+the cliffs are often diversified in color, being in cases composed of
+alternating bands of light gray and dark red sandstone, which impart a
+considerable variety of tints to the landscape. The contrast is
+heightened by the proximity of the Zuñi Mountains, an extensive
+timber-bearing range that approaches within 12 miles of Zuñi, narrowing
+down the extent of the surrounding arid region.</p>
+
+<p>Cibola has also been more generously treated by nature in the matter
+of water supply, as the province contains a perennial stream which has
+its sources near the village of Nutria, and, flowing past the pueblo of
+Zuñi, disappears a few miles below. During the rainy season the river
+empties into the Colorado Chiquito. The Cibolan pueblos are built on the
+foothills of mesas or in open valley sites, surrounded by broad fields,
+while the Tusayan villages are perched upon mesa promontories that
+overlook the valley lands used for cultivation.</p>
+
+
+<h5 class="section"><a name="chapIII_2" id="chapIII_2">
+PLANS AND DESCRIPTIONS OF RUINS.</a></h5>
+
+<p class="illustration">
+<a name="plateXLVII" id="plateXLVII"> </a>
+<img src="images/plate47.jpg" width="483" height="296"
+alt="Hawikuh"
+title="Hawikuh" /></p>
+<p class="caption smallcaps">
+Plate XLVII. Hawikuh, view.</p>
+
+<h6><a name="chapIII_2_1" id="chapIII_2_1">
+HAWIKUH.</a></h6>
+
+<p>The village of Hawikuh, situated about 15 miles to the south of Zuñi,
+consisted of irregular groups of densely clustered cells, occupying the
+point of a spur projecting from a low rounded hill. The houses are in
+such a ruined condition that few separate rooms can be traced, and these
+are much obscured by débris. This débris covers the entire area
+extending down the east slope of the hill to the site of the church. The
+large amount of débris and the comparative thinness of such walls as are
+found suggest that the dwellings had been densely clustered, and carried
+to the height of several stories. Much of the space between the village
+on the hill and the site of the Spanish church on the plain at its foot
+is covered with masonry débris, part of which has slid down from above
+(Pl. <span class="smallroman">XLVI</span>).</p>
+
+<p class="illustration">
+<a name="plateXLVI" id="plateXLVI"
+href="images/plate46.png">
+<img src="images/plate46thumb.png" width="292" height="450"
+alt="plan of Hawikuh"
+title="plan of Hawikuh" /></a></p>
+<p class="caption">
+<a href="images/plate46.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XLVI. Hawikuh, plan.</span></p>
+
+<p>
+<a name="page081" id="page081"> </a>
+The arrangement suggests a large principal court of irregular form. The
+surrounding clusters are very irregularly disposed, the directions of
+the prevailing lines of walls greatly varying in different groups. There
+is a suggestion also of several smaller courts, as well as of alleyways
+leading to the principal one.</p>
+
+<p>The church, built on the plain below at a distance of about 200 feet
+from the main village, seems to have been surrounded by several groups
+of rooms and inclosures of various sizes, differing somewhat in
+character from those within the village. These groups are scattered and
+open, and the small amount of debris leads to the conclusion that this
+portion of the village was not more than a single story in height.
+(<a href="#plateXLVII">Pl. <span class="smallroman">XLVII</span></a>.)</p>
+
+<p>The destruction of the village has been so complete that no vestige
+of constructional details remains, with the exception of a row of posts
+in a building near the church. The governor of Zuñi stated that these
+posts were part of a projecting porch similar to those seen in
+connection with modern houses. (See Pls. <a href="#plateLXXI"><span
+class="smallroman">LXXI</span></a>, <a href="#plateLXXV"><span class="smallroman">LXXV</span></a>.) Suggestions of this feature are met
+with at other points on the plain, but they all occur within the newer
+portion of the village around the church. Some of the larger inclosures
+in this portion of the village were very lightly constructed, and cover
+large areas. They were probably used as corrals. Inclosures for this
+purpose occur at other pueblos traditionally ascribed to the same
+age.</p>
+
+<p class="illustration">
+<a name="plateXLVIII" id="plateXLVIII"> </a>
+<img src="images/plate48.jpg" width="484" height="301"
+alt="Hawikuh church"
+title="Hawikuh church" /></p>
+<p class="caption smallcaps">
+Plate XLVIII. Adobe church at Hawikuh.</p>
+
+<p>The church in this village was constructed of adobe bricks, without
+the introduction of any stonework. The bricks appear to have been molded
+with an unusual degree of care. The massive angles of the northwest, or
+altar end of the structure, have survived the stonework of the adjoining
+village and stand to-day 13 feet high. (Pl.
+<span class="smallroman">XLVIII</span>.)</p>
+
+<p class="illustration">
+<a name="plateL" id="plateL"> </a>
+<img src="images/plate50.jpg" width="482" height="302"
+alt="Ketchipauan"
+title="Ketchipauan" /></p>
+<p class="caption smallcaps">
+Plate L. Ketchipauan.</p>
+
+<h6><a name="chapIII_2_2" id="chapIII_2_2">
+KETCHIPAUAN.</a></h6>
+
+<p>The small village of Ketchipauan appears to have been arranged about
+two courts of unequal dimensions. It is difficult to determine, however,
+how much of the larger court, containing the stone church, is of later
+construction.
+(Pl. <span class="smallroman">XLIX</span>.)</p>
+
+<p class="illustration">
+<a name="plateXLIX" id="plateXLIX"
+href="images/plate49.png">
+<img src="images/plate49thumb.png" width="336" height="565"
+alt="plan of Ketchipanan"
+title="plan of Ketchipanan" /></a></p>
+<p class="caption">
+<a href="images/plate49.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate XLIX. Ketchipanan, plan.</span></p>
+
+<p>All the northwest portion of the village is now one large inclosure
+or corral, whose walls have apparently been built of the fallen masonry
+from the surrounding houses, leaving the central space clear. This wall
+on the northeast side of the large inclosure apparently follows the jogs
+and angles of the original houses. This may have been the outer line of
+rooms, as traces of buildings occur for some distance within it. On the
+opposite side the wall is nearly continuous, the jogs being of slight
+projection. Here some traces of dwellings occur outside of the wall in
+places to a depth of three rooms. The same thing occurs also at the
+north corner. The continuation of these lines suggests a rectangular
+court of considerable size, bounded symmetrically by groups of
+compartments averaging three rooms deep. (<a href="#plateL">Pl. <span
+class="smallroman">L</span></a>.)</p>
+
+<p>Several much smaller inclosures made in the same way occur in the
+village, but they apparently do not conform to the original courts.</p>
+
+<p>
+<a name="page082" id="page082"> </a>
+At the present time dwelling rooms are traceable over a portion of the
+area south and west of the church. As shown on the plan, upright posts
+occasionally occur. These appear to have been incorporated into the
+original walls, but the latter are so ruined that this can not be stated
+positively, as such posts have sometimes been incorporated in modern
+corral walls. In places they suggest the balcony-like feature seen in
+modern houses, as in Hawikuh, but in the east portion of the pueblo they
+are irregularly scattered about the rooms. A&nbsp;considerable area on the
+west side of the ruin is covered with loosely scattered stones,
+affording no suggestions of a ground plan. They do not seem sufficient
+in amount to be the remains of dwelling rooms.</p>
+
+<p class="illustration">
+<a name="plateLI" id="plateLI"> </a>
+<img src="images/plate51.jpg" width="483" height="296"
+alt="Ketchipauan church"
+title="Ketchipauan church" /></p>
+<p class="caption smallcaps">
+Plate LI. Stone church at Ketchipauan.</p>
+
+<p>The Spanish church in this pueblo was built of stone, but the walls
+were much more massive than those of the dwellings. The building is well
+preserved, most of the walls standing 8 or 10 feet high, and in places
+14 feet. This church was apparently built by Indian labor, as the walls
+everywhere show the chinking with small stones characteristic of the
+native work. In this village also, the massive Spanish construction has
+survived the dwelling houses.</p>
+
+<p>The ground plan of the church shows that the openings were splayed in
+the thickness of the walls, at an angle of about 45°. In the doorway, in
+the east end of the building, the greater width of the opening is on the
+inside, a&nbsp;rather unusual arrangement; in the window, on the north side,
+this arrangement is reversed, the splay being outward. On the south side
+are indications of a similar opening, but at the present time the wall
+is so broken out that no well defined jamb can be traced, and it is
+impossible to determine whether the splayed opening was used or not. The
+stones of the masonry are laid with extreme care at the angles and in
+the faces of these splays, producing a highly finished effect.</p>
+
+<p>The position of the beam-holes on the inner face of the wall suggests
+that the floor of the church had been raised somewhat above the ground,
+and that there may have been a cellar-like space under it. No beams are
+now found, however, and no remains of wood are seen in the “altar” end
+of the church. At the present time there are low partitions dividing the
+inclosed area into six rooms or cells. The Indians state that these were
+built at a late date to convert the church into a defense against the
+hostile Apache from the south. These partitions apparently formed no
+part of the original design, yet it is difficult to see how they could
+have served as a defense, unless they were intended to be roofed over
+and thus converted into completely inclosed rooms. A&nbsp;stone of somewhat
+larger size than usual has been built into the south wall of the church.
+Upon its surface some native artist has engraved a rudely drawn
+mask.</p>
+
+<p>About 150 yards southeast from the church, and on the edge of the low
+mesa upon which the ruin stands, has been constructed a reservoir of
+large size which furnished the pueblo with a reserve water supply. The
+ordinary supply was probably derived from the valley below, where
+<a name="page083" id="page083"> </a>
+water is found at no great distance from the pueblo. Springs may also
+have formerly existed near the village, but this reservoir, located
+where the drainage of a large area discharges, must have materially
+increased the water supply. The basin or depression is about 110 feet in
+diameter and its present depth in the center is about 4&nbsp;feet; but it has
+undoubtedly been filled in by sediment since its abandonment. More than
+half of its circumference was originally walled in, but at the present
+time the old masonry is indicated only by an interrupted row of large
+foundation stones and fallen masonry. Some large stones, apparently
+undisturbed portions of the mesa edge, have been incorporated into the
+inclosing masonry. The Indians stated that originally the bottom of this
+basin was lined with stones, but these statements could not be verified.
+Without excavation on the upper side, the basin faded imperceptibly into
+the rising ground of the surrounding drainage. Other examples of these
+basin reservoirs are met with in this region.</p>
+
+<h6><a name="chapIII_2_3" id="chapIII_2_3">
+CHALOWE.</a></h6>
+
+<p>About 15° north of west from Hawikuh, and distant 1½ miles from it,
+begins the series of ruins called Chalowe. They are located on two low
+elevations or foothills extending in a southwestern direction from the
+group of hills, upon whose eastern extremity Hawikuh is built. The
+southernmost of the series covers a roughly circular area about 40 feet
+in diameter. Another cluster, measuring about 30 feet by 20, lies
+immediately north of it, with an intervening depression of a foot or so.
+About 475 feet northwest occurs a group of three rooms situated on a
+slight rise. A&nbsp;little east of north and a half a mile distant from the
+latter is a small hill, upon which is located a cluster of about the
+same form and dimensions as the one first described. Several more
+vaguely defined clusters are traceable near this last one, but they are
+all of small dimensions.</p>
+
+<p>This widely scattered series of dwelling clusters, according to the
+traditional accounts, belonged to one tribe, which was known by the
+general name of Chalowe. It is said to have been inhabited at the time
+of the first arrival of the Spaniards. The general character and
+arrangement however, are so different from the prevailing type in this
+region that it seems hardly probable that it belonged to the same people
+and the same age as the other ruins.</p>
+
+<p>No standing walls are found in any portion of the group, and the
+small amount of scattered masonry suggests that the rooms were only one
+story high. Yet the débris of masonry may have been largely covered up
+by drifting sand. Now it is hardly possible to trace the rooms, and over
+most of the area only scattered stones mark the positions of the groups
+of dwellings.</p>
+
+<h6><a name="chapIII_2_4" id="chapIII_2_4">
+HAMPASSAWAN.</a></h6>
+
+<p>Of the village of Hampassawan, which is said traditionally to have
+been one of the seven cities of Cibola visited by Coronado, nothing now
+<a name="page084" id="page084"> </a>
+remains but two detached rooms, both showing vestiges of an upper story.
+With this exception, the destruction of the village is complete and only
+a low rise in the plain marks its site. Owing to its exposed position,
+the fallen walls have been completely covered with drifting sand and
+earth, no vestige of the buildings showing through the dense growth of
+sagebrush that now covers&nbsp;it.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig15" id="fig15" href="images/fig15.png">
+<img src="images/fig15thumb.png" width="213" height="272"
+alt="fig. 15 thumbnail"
+title="fig. 15 thumbnail" /></a></td>
+</tr>
+<tr>
+<td class="caption">
+<a href="images/fig15.png">full size</a><br/>
+<br/>
+<span class="smallcaps">Fig. 15.</span>
+Hampassawan, plan.
+</td>
+</tr>
+</table>
+
+<p>The two surviving rooms referred to appear to have been used from
+time to time, as outlooks over corn fields close by, and as a defense
+against the Navajo. Their final abandonment, and that of the cultivation
+of the adjoining fields, is said to have been due to the killing of a
+<a name="page085" id="page085"> </a>
+Zuñi there, by the Navajo, within very recent times. These rooms have
+been several times repaired, the one on the west particularly. In the
+latter an additional wall has been built upon the northern side, as
+shown on the plan, Fig. 15. The old roof seems to
+have survived until recently, for, although at the present time the room
+is covered with a roof of rudely split cedar beams, the remains of the
+old, carefully built roof lie scattered about in the corners of the
+room, under the dirt and débris. The openings are very small and seem to
+have been modified since the original construction, but it is difficult
+to distinguish between the older original structure and the more recent
+additions.</p>
+
+<p class="illustration">
+<a name="plateLIII" id="plateLIII"> </a>
+<img src="images/plate53.jpg" width="422" height="320"
+alt="K’iakima"
+title="K’iakima" /></p>
+<p class="caption smallcaps">
+Plate LIII. Site of K’iakima, at base of Tâaaiyalana.</p>
+
+<h6><a name="chapIII_2_5" id="chapIII_2_5">
+K’IAKIMA.</a></h6>
+
+<p>On the south side of the isolated mesa of Tâaaiyalana and occupying a
+high rounded spur of foothills, is the ruined village of K’iakima
+(Pl. <span class="smallroman">LII</span>). A&nbsp;long gulch on the
+west side of the spur contains, for 300 or 400 yards,
+a small stream which is fed from springs near the ruined village.</p>
+
+<p class="illustration">
+<a name="plateLII" id="plateLII"
+href="images/plate52.png">
+<img src="images/plate52thumb.png" width="369" height="304"
+alt="plan of K’iakima"
+title="plan of K’iakima" /></a></p>
+<p class="caption">
+<a href="images/plate52.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate LII. K’iakima, plan.</span></p>
+
+<p>The entire surface of the hill is covered with scattered débris of
+fallen walls, which must at one time have formed a village of
+considerable size. Over most of this area the walls can not be traced;
+the few rooms which can be distinctly outlined, occurring in a group on
+the highest part of the hill. Standing walls are here seen, but they are
+apparently recent, one room showing traces of a chimney
+(Pl. <span class="smallroman">LIV</span>). Some of the
+more distinct inclosures, built from fallen masonry of the old village,
+seem to have been intended for corrals. This is the case also with the
+remains found on the cliffs to the north of the village, whose position
+is shown on the plan (<a href="#plateLIII">Pl. <span class="smallroman">LIII</span></a>). Here nearly all the scattered stones of
+the original one-story buildings, have been utilized for these large
+inclosures. It is quite possible that these smaller structures on the
+ledge of the mesa were built and occupied at a much later date than the
+principal village. <a href="#plateLIII">Pl. <span class="smallroman">LIII</span></a> illustrates a portion of the base of
+Tâaaiyalana where these inclosures appear.</p>
+
+<p class="illustration">
+<a name="plateLIV" id="plateLIV"> </a>
+<img src="images/plate54.jpg" width="450" height="295"
+alt="K’iakima wall"
+title="K’iakima wall" /></p>
+<p class="caption smallcaps">
+Plate LIV. Recent wall at K’iakima.</p>
+
+<p>A striking feature of this ruin is the occurrence in the northeast
+corner of the village of large upright slabs of stone. The largest of
+these is about 3&nbsp;feet wide and stands 5½&nbsp;feet out of the ground. One of
+the slabs is of such symmetrical form that it suggests skillful
+artificial treatment, but the stone was used just as it came from a seam
+in the cliff above. From the same seam many slabs of nearly equal size
+and symmetrical form have fallen out and now lie scattered about on the
+talus below. Some are remarkable for their perfectly rectangular form,
+while all are distinguished by a notable uniformity in thickness. Close
+by, and apparently forming part of the same group, are a number of
+stones imbedded in the ground with their upper edges exposed and placed
+at right angles to the faces of the vertical monuments. The taller slabs
+are said by the Indians to have been erected as a defense against the
+attacks of the Apache upon this pueblo, but only a portion of the group
+could, from their position, have been of any use for this
+<a name="page086" id="page086"> </a>
+purpose. The stones probably mark graves. Although thorough excavation
+of the hard soil could not be undertaken, digging to the depth of 18
+inches revealed the same character of pottery fragments, ashes, etc.,
+found in many of the pueblo graves. Mr. E.&nbsp;W. Nelson found
+identical remains in graves in the Rio San Francisco region which he
+excavated in collecting pottery. Comparatively little is known, however,
+of the burial practices of this region, so it would be difficult to
+decide whether this was an ordinary method of burial or not.</p>
+
+<p>This pueblo has been identified by Mr. Cushing, through Zuñi
+tradition, as the scene of the death of Estevanico, the negro who
+accompanied the first Spanish expedition to Cibola.</p>
+
+<h6><a name="chapIII_2_6" id="chapIII_2_6">
+MATSAKI.</a></h6>
+
+<p>Matsaki is situated on a foothill at the base of Tâaaiyalana, near
+its northwestern extremity. This pueblo is in about the same state of
+preservation as K’iakima, no complete rooms being traceable over most of
+the area. Traces of walls, where seen, are not uniform in direction,
+suggesting irregular grouping of the village. At two points on the plan
+rooms partially bounded by standing walls are found. These appear to owe
+their preservation to their occupation as outlooks over fields in the
+vicinity long after the destruction of the pueblo. One of the two rooms
+shows only a few feet of rather rude masonry. The walls of the other
+room, in one corner, stand the height of a full story above the
+surrounding débris, a&nbsp;low room under it having been partially filled up
+with fallen masonry and earth. The well preserved inner corner of the
+exposed room shows lumps of clay adhering here and there to the walls,
+the remnants of an interior corner chimney. No trace of the supports for
+a chimney hood, such as occur in the modern fireplaces, could be found.
+The form outlined against the wall by these slight remains indicates a
+rather rudely constructed feature which was added at a late date to the
+room and formed no part of its original construction. It was probably
+built while the room was used as a farming outlook. As shown on the
+ground plan
+(Pl. <span class="smallroman">LV</span>), a&nbsp;small cluster of houses once stood at
+some little distance to the southwest of the main pueblo and was
+connected with the latter by a series of rooms. The intervening space
+may have been a court. At the northern edge of the village a primitive
+shrine has been erected in recent times and is still in use. It is
+rudely constructed by simply piling up stones to a height of 2½ or 3
+feet, in a rudely rectangular arrangement, with an opening on the east.
+This shrine, facing east, contains an upright slab of thin sandstone on
+which a rude sun-symbol has been engraved. The governor of Zuñi, in
+explaining the purpose of this shrine, compared its use to that of our
+own astronomical observatories, which he had seen.</p>
+
+<p class="illustration">
+<a name="plateLV" id="plateLV"> </a>
+<img src="images/plate55.png" width="477" height="356"
+alt="plan of Matsaki"
+title="plan of Matsaki" /></p>
+<p class="caption smallcaps">
+Plate LV. Matsaki, plan.</p>
+
+<h6><a name="chapIII_2_7" id="chapIII_2_7">
+PINAWA.</a></h6>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig16" id="fig16" href="images/fig16.png">
+<img src="images/fig16thumb.png" width="212" height="220"
+alt="Plan of Pinawa"
+title="Plan of Pinawa" /></a></td>
+</tr>
+<tr>
+<td class="caption">
+<a href="images/fig16.png">full size</a><br/>
+<br/>
+<span class="smallcaps">Fig. 16.</span>
+Pinawa, plan.
+</td>
+</tr>
+</table>
+
+<p>The ruins of the small pueblo of Pinawa occupy a slight rise on the
+south side of the Zuñi River, a&nbsp;short distance west of Zuñi. The road
+<a name="page087" id="page087"> </a>
+from Zuñi to Ojo Caliente traverses the ruin. Over most of the area
+rooms can not be traced. One complete room, however, has been preserved
+and appears to be still occupied during the cultivation of the
+neighboring “milpas.” It is roofed over and in good condition, though
+the general character of the masonry resembles the older work. On the
+plan (Fig.&nbsp;16) it will be seen that the
+stones of the original masonry have been collected and built into a
+number of large inclosures, which have in turn been partly destroyed.
+The positions of the entrances to these inclosures can be traced by the
+absence of stones on the surface. The general outline of the corral-like
+inclosures appears to have followed comparatively well preserved
+portions of the original wall, as was the case at Ketchipauan.
+(Pl. <span class="smallroman">LVI</span>.)</p>
+
+<p class="illustration">
+<a name="plateLVI" id="plateLVI"> </a>
+<img src="images/plate56.png" width="456" height="308"
+alt="Pinawa wall"
+title="Pinawa wall" /></p>
+<p class="caption smallcaps">
+Plate LVI. Standing wall at Pinawa.</p>
+
+<p>On the southwest side of the pueblo, portions of the outer wall are
+distinctly traceable, some of the stones being still in position. This
+<a name="page088" id="page088"> </a>
+portion of the outline is distinguished by a curious series of curves,
+resembling portions of Nutria and Pescado, but intersecting in an
+unusual manner.</p>
+
+<p>The Ojo Caliente road passes between the main ruin and the standing
+room above described. The remnants of the fallen masonry are so few and
+so promiscuously scattered over this area that the continuity of remains
+can not be fully traced.</p>
+
+<p class="illustration">
+<a name="plateLVII" id="plateLVII"> </a>
+<img src="images/plate57.jpg" width="450" height="242"
+alt="Halona"
+title="Halona" /></p>
+<p class="caption smallcaps">
+Plate LVII. Halona excavations as seen from Zuñi.</p>
+
+<h6><a name="chapIII_2_8" id="chapIII_2_8">
+HALONA.</a></h6>
+
+<p>An ancient pueblo called Halona is said to have belonged to the
+Cibolan group, and to have been inhabited at the time of the conquest.
+It occupied a portion of the site upon which the present pueblo of Zuñi
+stands. A&nbsp;part of this pueblo was built on the opposite side of the
+river, where the remains of walls were encountered at a slight depth
+below the surface of the ground in excavating for the foundations of Mr.
+Cushing’s house. At that time only scattered remains of masonry were met
+with, and they furnished but little indication of details of plan or
+arrangement. Later&mdash;during the summer of 1888&mdash;Mr. Cushing
+made extensive additions to his house on the south side of the river,
+and in excavating for the foundations laid bare a number of small rooms.
+Excavation was continued until December of that year, when a large part
+of the ancient village had been exposed. Pl.
+<span class="smallroman">LVII</span>, from a photograph,
+illustrates a portion of these remains as seen from the southwest corner
+of Zuñi. The view was taken in the morning during a light fall of snow
+which, lightly covering the tops of the walls left standing in the
+excavations, sharply defined their outlines against the shadows of the
+rooms.</p>
+
+<p>It seems impossible to restore the entire outline of the portion of
+Halona that has served as a nucleus for modern Zuñi from such data as
+can be procured. At several points of the present village, however,
+vestiges of the old pueblo can be identified. Doubtless if access could
+be obtained to all the innermost rooms of the pueblo some of them would
+show traces of ancient methods of construction sufficient, at least, to
+admit of a restoration of the general form of the ancient pueblo. At the
+time the village was surveyed such examination was not practicable. The
+portion of the old pueblo serving as a nucleus for later construction
+would probably be found under houses Nos. 1 and&nbsp;4, forming practically
+one mass of rooms. Strangers and outsiders are not admitted to these
+innermost rooms. Outcrops in the small cluster No.&nbsp;2 indicate by their
+position a continuous wall of the old pueblo, probably the external one.
+Portions of the ancient outer wall are probably incorporated into the
+west side of cluster No.&nbsp;1. On the north side of cluster No.&nbsp;2
+(see <a href="#plateLXXVI">Pl. <span class="smallroman">LXXVI</span></a>)
+may be seen a buttress-like projection whose construction of small
+tabular stones strongly contrasts with the character of the surrounding
+walls, and indicates that it is a fragment of the ancient pueblo. This
+projecting buttress answers no purpose whatever in its present
+position.</p>
+
+<p>
+<a name="page089" id="page089"> </a>
+The above suggestions are confirmed by another feature in the same
+house-cluster. On continuing the line of this buttress through the
+governor’s house we find a projecting fragment of second story wall, the
+character and finish of which is clearly shown in
+Pl. <span class="smallroman">LVIII</span>. Its
+general similarity to ancient masonry and contrast with the present
+careless methods of construction are very noticeable. The height of this
+fragment above the ground suggests that the original pueblo was in a
+very good state of preservation when it was first utilized as a nucleus
+for later additions. That portion under house No.&nbsp;1 is probably equally
+well preserved. The frequent renovation of rooms by the application of a
+mud coating renders the task of determining the ancient portions of the
+cluster by the character of the masonry a very difficult one. Ceilings
+would probably longest retain the original appearance of the ancient
+rooms as they are not subjected to such renovation.</p>
+
+<p class="illustration">
+<a name="plateLVIII" id="plateLVIII"> </a>
+<img src="images/plate58.jpg" width="486" height="349"
+alt="Halona wall"
+title="Halona wall" /></p>
+<p class="caption smallcaps">
+Plate LVIII. Fragments of Halona wall.</p>
+
+<p>Mr. Cushing thought that the outer western wall of the ancient pueblo
+was curved in outline. It is more probable, however, that it regulated
+the lines of the present outer rooms, and is reflected in them, as the
+usual practice of these builders was to put one partition directly over
+another in adding to the height of a building. This would suggest a
+nearly rectangular form, perhaps with jogs and offsets, for the old
+builders could not incorporate a curved outer wall into a mass of
+rectangular cells, such as that seen in the present pueblo. On the other
+hand, the outer wall of the original pueblo may have been outside of
+rooms now occupied, for the village had been abandoned for some time
+before the colony returned to the site.</p>
+
+<p class="illustration">
+<a name="plateLIX" id="plateLIX"> </a>
+<img src="images/plate59.jpg" width="480" height="299"
+alt="Tâaaiyalana"
+title="Tâaaiyalana" /></p>
+<p class="caption smallcaps">
+Plate LIX. The mesa of Tâaaiyalana, from Zuñi.</p>
+
+<h6><a name="chapIII_2_9" id="chapIII_2_9">
+TÂAAIYALANA.</a></h6>
+
+<p>On the abandonment of the pueblos known as the Seven Cities of
+Cibola, supposed to have occurred at the time of the general uprising of
+the pueblos in 1680, the inhabitants of all the Cibolan villages sought
+refuge on the summit of Tâaaiyalana, an isolated mesa, 3&nbsp;miles southeast
+from Zuñi, and there built a number of pueblo clusters.</p>
+
+<p>This mesa, otherwise known as “Thunder Mountain,” rises to the height
+of 1,000 feet above the plain, and is almost inaccessible. There are two
+foot trails leading to the summit, each of which in places traverses
+abrupt slopes of sandstone where holes have been pecked into the rock to
+furnish foot and hand holds. From the northeast side the summit of the
+mesa can be reached by a rough and tortuous burro trail. All the rest of
+the mesa rim is too precipitous to be scaled. Its appearance as seen
+from Zuñi is shown in Pl. <span class="smallroman">LIX</span>.</p>
+
+<p>On the southern portion of this impregnable site and grouped about a
+point where nearly the whole drainage of the mesa top collects, are
+found the village remains. The Zuñis stated that the houses were
+distributed in six groups or clusters, each taking the place of one of
+the abandoned towns. Mr. Frank H. Cushing <a class="tag" name="tag4a" id="tag4a" href="#note4a">4</a>
+was also under the impression
+<a name="page090" id="page090"> </a>
+that these houses had been built as six distinct clusters of one
+village, and he has found that at the time of the Pueblo rebellion, but
+six of the Cibolan villages were occupied. An examination of the plan,
+however, will at once show that no such definite scheme of arrangement
+governed the builders. There are but three, or at most four groups that
+could be defined as distinct clusters, and even in the case of these the
+disposition is so irregular and their boundaries so ill defined, through
+the great number of outlying small groups scattered about, that they can
+hardly be considered distinct. There are really thirty-eight separate
+buildings
+(Pl. <span class="smallroman">LX</span>) ranging in size from one of two rooms, near
+the southern extremity to one of one hundred and three rooms, situated
+at the southwestern corner of the whole group and close to the western
+edge of the mesa where the foot trails reach the summit. There is also
+great diversity in the arrangement of rooms. In some cases the clusters
+are quite compact, and in others the rooms are distributed in narrow
+rows. In the large cluster at the northwestern extremity the houses are
+arranged around a court; with this exception the clusters of rooms are
+scattered about in an irregular manner, regardless of any defensive
+arrangement of the buildings. The builders evidently placed the greatest
+reliance on their impregnable site, and freely adopted such arrangement
+as convenience dictated.</p>
+
+<p class="illustration">
+<a name="plateLX" id="plateLX"
+href="images/plate60.png">
+<img src="images/plate60thumb.png" width="362" height="223"
+alt="plan of Tâaaiyalana"
+title="plan of Tâaaiyalana" /></a></p>
+<p class="caption">
+<a href="images/plate60.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate LX. Tâaaiyalana, plan.</span></p>
+
+<p class="mynote">
+The outlined area in the lower right was printed as an inset directly
+below the scale of distance.</p>
+
+<p>The masonry of these villages was roughly constructed, the walls
+being often less than a foot thick. Very little adobe mortar seems to
+have been used; some of the thickest and best preserved walls have
+apparently been laid nearly dry
+(Pl. <span class="smallroman">LXI</span>). The few openings still preserved also show
+evidence of hasty and careless construction. Over most of the area the
+debris of the fallen walls is very clearly marked, and is but little
+encumbered with earth or drifted sand. This imparts an odd effect of
+newness to these ruins, as though the walls had recently fallen. The
+small amount of debris suggests that the majority of these buildings
+never were more than one story high, though in four of the broadest
+clusters (see plan, Pl. <span class="smallroman">LX</span>) a height of two, and possibly three, stories
+may have been attained. All the ruins are thickly covered by a very
+luxurious growth of braided cactus, but little of which is found
+elsewhere in the neighborhood. The extreme southeastern cluster,
+consisting of four large rooms, differs greatly in character from the
+rest of the ruins. Here the rooms or inclosures are defined only by a
+few stones on the surface of the ground and partly embedded in the soil.
+There is no trace of the debris of fallen walls. These outlined
+inclosures appear never to have been walled to any considerable height.
+Within one of the rooms is a slab of stone, about which a few ceremonial
+plume sticks have been set on end within recent times.</p>
+
+<p class="illustration">
+<a name="plateLXI" id="plateLXI"> </a>
+<img src="images/plate61.jpg" width="458" height="283"
+alt="Tâaaiyalana walls"
+title="Tâaaiyalana walls" /></p>
+<p class="caption smallcaps">
+Plate LXI. Standing walls of Tâaaiyalana ruins.</p>
+
+<p>The motive that led to the occupation of this mesa was defense; the
+cause that led to the selection of the particular site was facility for
+procuring a water supply. The trail on the west side passes a spring
+half way down the mesa. There was another spring close to the foot
+<a name="page091" id="page091"> </a>
+trail on the south side; this, however, was lower, being almost at the
+foot of the talus.</p>
+
+<p>In addition to these water sources, the builders collected and stored
+the drainage of the mesa summit near the southern gap or recess. At this
+point are still seen the remains of two reservoirs or dams built of
+heavy masonry. Only a few stones are now in place, but these indicate
+unusually massive construction. Another reservoir occurs farther along
+the mesa rim to the southeast, beyond the limits of the plan as given.
+As may be seen from the plan (<a href="#plateLX">Pl. <span class="smallroman">LX</span></a>) the two reservoirs at the gap are quite
+close together. These receptacles have been much filled up with
+sediment. Pl. <span class="smallroman">LXII</span> gives a view of the principal or
+westernmost reservoir as seen from the northeast. On the left are the
+large stones once incorporated in the masonry of the dam. This masonry
+appears to have originally extended around three-fourths of the
+circumference of the reservoir. As at Ketchipauan, previously described,
+the upper portion of the basins merged insensibly into the general
+drainage and had no definite limit.</p>
+
+<p class="illustration">
+<a name="plateLXII" id="plateLXII"> </a>
+<img src="images/plate62.jpg" width="453" height="303"
+alt="Tâaaiyalana reservoir"
+title="Tâaaiyalana reservoir" /></p>
+<p class="caption smallcaps">
+Plate LXII. Remains of a reservoir on Tâaaiyalana.</p>
+
+<p>The Zuñi claim to have here practiced a curious method of water
+storage. They say that whenever there was snow on the ground the
+villagers would turn out in force and roll up huge snowballs, which were
+finally collected into these basins, the gradually melting snow
+furnishing a considerable quantity of water. The desert environment has
+taught these people to avail themselves of every expedient that could
+increase their supply of water.</p>
+
+<p>It is proper to state that in the illustrated plan of the Tâaaiyalana
+ruins the mesa margin was sketched in without the aid of instrumental
+sights, and hence is not so accurately recorded as the plans and
+relative positions of the houses. It was all that could be done at the
+time, and will sufficiently illustrate the general relation of the
+buildings to the surrounding topography.</p>
+
+<p class="illustration">
+<a name="plateLXV" id="plateLXV"> </a>
+<img src="images/plate65.jpg" width="365" height="212"
+alt="Kin-tiel walls"
+title="Kin-tiel walls" /></p>
+<p class="caption smallcaps">
+Plate LXV. Standing walls of Kin-tiel.</p>
+
+<h6><a name="chapIII_2_10" id="chapIII_2_10">
+KIN-TIEL.</a></h6>
+
+<p>All the ruins above described bear close traditional and historic
+relationship to Zuñi. This is not the case with the splendidly preserved
+ancient pueblo of Kin-tiel, but the absence of such close historic
+connection is compensated for by its architectural interest. Differing
+radically in its general plan from the ruins already examined, it still
+suggests that some resemblance to the more ancient portions of Nutria
+and Pescado, as will be seen by comparing the ground plans (Pls. <a href="#plateLXVII"><span class="smallroman">LXVII</span></a> and <a href="#plateLXIX"><span class="smallroman">LXIX</span></a>). Its state of
+preservation is such that it throws light on details which have not
+survived the general destruction in the other pueblos. These features
+will be referred to in the discussion and comparison of these
+architectural groups by constructional details in Chapter <span class="smallroman">IV</span>.</p>
+
+<p>This pueblo, located nearly midway between Cibola and Tusayan, is
+given on some of the maps as Pueblo Grande. It is situated on a small
+<a name="page092" id="page092"> </a>
+arm of the Pueblo Colorado wash, 22 or 23 miles north of Navajo Springs,
+and about the same distance south from Pueblo Colorado (Ganado
+post-office). Geographically the ruins might belong to either Tusayan or
+Cibola, but Mr. Cushing has collected traditional references among the
+Zuñi as to the occupation of this pueblo by related peoples at a time
+not far removed from the first Spanish visit to this region.</p>
+
+<p class="illustration">
+<a name="plateLXIII" id="plateLXIII"
+href="images/plate63.png">
+<img src="images/plate63thumb.png" width="238" height="393"
+alt="plan of Kin-tiel"
+title="plan of Kin-tiel" /></a></p>
+<p class="caption">
+<a href="images/plate63.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate LXIII. Kin-tiel, plan (also showing excavations).</span></p>
+
+<p>The plan
+(Pl. <span class="smallroman">LXIII</span>) shows a marked contrast to the
+irregularity seen in the ruins previously described. The pueblo was
+clearly defined by a continuous and unbroken outer wall, which probably
+extended to the full height of the highest stories
+(Pl. <span class="smallroman">LXIV</span>). This
+symmetrical form is all the more remarkable in a pueblo of such large
+dimensions, as, with the exception of Pueblo Bonito of the Chaco group,
+it is the largest ancient pueblo examined by this Bureau. This village
+seems to belong to the same type as the Chaco examples, representing the
+highest development attained in building a large defensive pueblo
+practically as a single house. All the terraces faced upon one or more
+inclosed courts, through which access was gained to the rooms. The
+openings in this outer wall, especially near the ground, were few in
+number and very small in size, as shown in <a href="#plateCIV">Pl.
+<span class="smallroman">CIV</span></a>. The pueblo was built in two
+wings of nearly equal size on the opposite slopes of a large sandy wash,
+traversing its center from east to west. This wash doubtless at one time
+furnished peculiar facilities for storage of water within or near the
+village, and this must have been one of the inducements for the
+selection of the site. At the time of our survey, however, not a drop of
+water was to be found about the ruin, nor could vestiges of any
+construction for gathering or storing water be traced. Such vestiges
+would not be likely to remain, as they must have been washed away by the
+violent summer torrents or buried under the accumulating sands. Two
+seasons subsequent to our work at this point it was learned that an
+American, digging in some rooms on the arroyo margin, discovered the
+remains of a well or reservoir, which he cleared of sand and debris and
+found to be in good condition, furnishing so steady a water supply that
+the discoverer settled on the spot. This was not seen by the writer.
+There is a small spring, perhaps a mile from the pueblo in a
+northeasterly direction, but this source would have been wholly
+insufficient for the needs of so large a village. It may have furnished
+a much more abundant supply, however, when it was in constant use, for
+at the time of our visit it seemed to be choked up. About a mile and a
+half west quite a lagoon forms from the collected drainage of several
+broad valleys, and contains water for a long time after the cessation of
+the rains. About 6&nbsp;miles to the north, in a depression of a broad
+valley, an extensive lake is situated, and its supply seems to be
+constant throughout the year, except, perhaps, during an unusually dry
+season. These various bodies of water were undoubtedly utilized in the
+horticulture of the occupants of Kin-tiel; in fact, near the borders of
+the larger lake referred to is a small house of two rooms; much similar
+in workmanship to the main
+<a name="page093" id="page093"> </a>
+pueblo, evidently designed as an outlook over fields. This building is
+illustrated in <a href="#plateLXVI">Pl. <span class="smallroman">LXVI</span></a>.</p>
+
+<p class="illustration">
+<a name="plateLXIV" id="plateLXIV"> </a>
+<img src="images/plate64.png" width="442" height="264"
+alt="Kin-tiel wall"
+title="Kin-tiel wall" /></p>
+<p class="caption smallcaps">
+Plate LXIV. North wall of Kin-tiel.</p>
+
+<p>The arrangement of the inner houses differs in the two halves of the
+ruin. It will be seen that in the north half the general arrangement is
+roughly parallel with the outer walls, with the exception of a small
+group near the east end of the arroyo. In the south half, on the other
+hand, the inner rows are nearly at right angles to the outer room
+clusters. An examination of the contours of the site will reveal the
+cause of this difference in the different configuration of the slopes in
+the two cases. In the south half the rows of rooms have been built on
+two long projecting ridges, and the diverging small cluster in the north
+half owes its direction to a similar cause. The line of outer wall being
+once fixed as a defensive bulwark, there seems to have been but little
+restriction in the adjustment of the inner buildings to conform to the
+irregularities of the site. (<a href="#plateLXIII">Pl. <span class="smallroman">LXIII</span></a>.)</p>
+
+<p>Only three clearly defined means of access to the interior of the
+pueblo could be found in the outer walls, and of these only two were
+suitable for general use. One was at a reentering angle of the outer
+wall, just south of the east end of the arroyo, where the north wall,
+continued across the arroyo, overlaps the outer wall of the south half,
+and the other one was near the rounded northeastern corner of the
+pueblo. The third opening was a doorway of ordinary size in the thick
+north wall. It seems probable that other gateways once existed,
+especially in the south half. From its larger size and more compact
+arrangement this south half would seem to have greatly needed such
+facilities, but the preserved walls show no trace of them.</p>
+
+<p>The ground plan furnishes indications, mostly in the north half, of
+several large rooms of circular form, but broken down remains of square
+rooms are so much like those of round ones in appearance, owing to the
+greater amount of débris that collects at the corners, that it could not
+be definitely determined that the ceremonial rooms here were of the
+circular form so common in the ancient pueblos. While only circular
+kivas have been found associated with ancient pueblos of this type, the
+kivas of all the Cibola ruins above described are said by the Zuñis to
+have been rectangular. The question can be decided for this pueblo only
+by excavation on a larger scale than the party was prepared to
+undertake. Slight excavation at a point where a round room was indicated
+on the surface, revealed portions of straight walls only.</p>
+
+<p class="illustration">
+<a name="plateLXVI" id="plateLXVI"> </a>
+<img src="images/plate66.png" width="454" height="269"
+alt="Kinna-Zinde"
+title="Kinna-Zinde" /></p>
+<p class="caption smallcaps">
+Plate LXVI. Kinna-Zinde.</p>
+
+<p>The large size of the refuse heap on the south side of the village
+indicates that the site had been occupied for many generations.
+Notwithstanding this long period of occupation, no important structure
+of the village seems to have extended beyond the plan. On the north
+side, outside the main wall, are seen several rectangles faintly
+outlined by stones, but these do not appear to have been rooms. They
+resemble similar inclosures seen in connection with ruined pueblos
+farther south, which proved on excavation to contain graves.</p>
+
+<p>
+<a name="page094" id="page094"> </a>
+The positions of the few excavations made are indicated on the plan (<a
+href="#plateLXIII">Pl.&nbsp;<span class="smallroman">LXIII</span></a>). Our facilities for such work were most
+meager, and whatever results were secured were reached at no great
+distance from the surface. One of these excavations, illustrated in <a
+href="#plateC">Pl.&nbsp;<span class="smallroman">C</span></a>, will
+be described at greater length in Chapter&nbsp;<span class="smallroman">IV</span>.</p>
+
+
+<h5 class="section"><a name="chapIII_3" id="chapIII_3">
+PLANS AND DESCRIPTIONS OF INHABITED VILLAGES.</a></h5>
+
+<p class="illustration">
+<a name="plateLXVIII" id="plateLXVIII"> </a>
+<img src="images/plate68.png" width="468" height="289"
+alt="Nutria"
+title="Nutria" /></p>
+<p class="caption smallcaps">
+Plate LXVIII. Nutria, view.</p>
+
+<h6><a name="chapIII_3_1" id="chapIII_3_1">
+NUTRIA.</a></h6>
+
+<p>Nutria is the smallest of the three farming pueblos of Zuñi, and is
+located about 23 miles by trail northeast from Zuñi at the head of
+Nutria valley. The water supply at this point is abundant, and furnishes
+a running stream largely utilized in irrigating fields in the vicinity.
+Most of the village is compactly arranged, as may be seen from the plan
+(Pl.&nbsp;<span class="smallroman">LXVII</span>
+and Fig.&nbsp;17), but a few small clusters, of late
+construction, containing two or three rooms each, are situated toward
+the east at quite a distance from the principal group. It is now
+occupied solely as a farming pueblo during the planting and harvesting
+season.</p>
+
+<p class="illustration">
+<a name="plateLXVII" id="plateLXVII"
+href="images/plate67.png">
+<img src="images/plate67thumb.png" width="366" height="183"
+alt="plan of Nutria"
+title="plan of Nutria" /></a></p>
+<p class="caption">
+<a href="images/plate67.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate LXVII. Nutria, plan.</span></p>
+
+<p class="illustration">
+<a name="fig17" id="fig17"> </a>
+<img src="images/fig17.png" width="417" height="211"
+alt="Nutria diagram"
+title="Nutria diagram" /></p>
+<p class="caption"><span class="smallcaps">Fig. 17.</span>
+Nutria, plan; small diagram, old wall.</p>
+
+<p>The outline of this small pueblo differs greatly from those of most
+of the Cibolan villages. The village (<a href="#plateLXVIII">Pl. <span
+class="smallroman">LXVIII</span></a>), particularly in its
+northernmost cluster, somewhat approximates the form of the ancient
+pueblo of Kin-tiel (<a href="#plateLXIII">Pl. <span class="smallroman">LXIII</span></a>), and has apparently been built on the
+remains of an older village of somewhat corresponding form, as indicated
+by its curved outer wall. Fragments of carefully constructed masonry of
+the ancient type, contrasting noticeably with the surrounding modern
+construction, afford additional evidence of this. The ancient village
+must have been provided originally with ceremonial rooms or kivas, but
+no traces of such rooms are now to be found.</p>
+
+<p>At the close of the harvest, when the season of feasts and
+ceremonials begins, lasting through most of the winter, the occupants of
+these farming
+<a name="page095" id="page095"> </a>
+villages close up their houses and move back to the main pueblo leaving
+them untenanted until the succeeding spring.</p>
+
+<p>The great number of abandoned and ruined rooms is very noticeable in
+the farming pueblos illustrated in this and two of the succeeding plans
+(Pls. <a href="#plateLXIX"><span class="smallroman">LXIX</span></a>
+and <a href="#plateLXXIII"><span class="smallroman">LXXIII</span></a>). The families that farm in their
+vicinity seem to occupy scarcely more than half of the available
+rooms.</p>
+
+<h6><a name="chapIII_3_2" id="chapIII_3_2">
+PESCADO.</a></h6>
+
+<p>This village, also a Zuñi farming pueblo, is situated in a large
+valley about 12 miles northeast from Zuñi. Although it is much larger
+than Nutria it is wholly comprised within the compact group illustrated.
+The tendency to build small detached houses noticed at Nutria and at Ojo
+Caliente has not manifested itself here. The prevalence of abandoned and
+roofless houses is also noticeable.</p>
+
+<p class="illustration">
+<a name="plateLXIX" id="plateLXIX"
+href="images/plate69.png">
+<img src="images/plate69thumb.png" width="452" height="304"
+alt="plan of Pescado"
+title="plan of Pescado" /></a></p>
+<p class="caption">
+<a href="images/plate69.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate LXIX. Pescado, plan.</span></p>
+
+<p class="illustration">
+<a name="fig18" id="fig18"> </a>
+<img src="images/fig18.png" width="448" height="286"
+alt="Pescado diagram"
+title="Pescado diagram" /></p>
+<p class="caption"><span class="smallcaps">Fig. 18.</span>
+Pescado, plan, old wall diagram.</p>
+
+<p>The outlines of the original court inclosing pueblo
+(Pl. <span class="smallroman">LXX</span>) are very
+clearly marked, as the farming Zuñis in their use of this site have
+scarcely gone outside of the original limits of the ancient pueblo. The
+plan, Pl. <span class="smallroman">LXIX</span> and Fig. 18, shows a
+small irregular row built in the large inclosed court; this row, with
+the inclosures and corrals that surround it, probably formed no part of
+the original plan. The full curved outline is broken only at the west
+end of the village by small additions to the outer wall, and the north
+and east walls also closely follow the boundary of the original pueblo.
+In fact, at two points along the north wall fragments of carefully
+executed masonry, probably forming part of the external wall of the
+ancient pueblo, are still preserved
+(Pl. <span
+class="smallroman">LXXII</span>). This outer wall was probably
+once continuous to the full height of the
+<a name="page096" id="page096"> </a>
+pueblo, but the partial restorations of the buildings by the Zuñi
+farmers resemble more closely the modern arrangement. Small rooms have
+been added to the outside of the cluster and in some cases the terraces
+are reached by external stone steps, in contrast with the defensive
+arrangement prevailing generally in pueblos of this form. A&nbsp;number of
+dome-shaped ovens have been built outside the walls.</p>
+
+<p class="illustration">
+<a name="plateLXX" id="plateLXX"> </a>
+<img src="images/plate70.png" width="472" height="291"
+alt="Pescado court"
+title="Pescado court" /></p>
+<p class="caption smallcaps">
+Plate LXX. Court view of Pescado, showing corrals.</p>
+
+<p class="illustration">
+<a name="plateLXXI" id="plateLXXI"> </a>
+<img src="images/plate71.jpg" width="366" height="207"
+alt="Pescado houses"
+title="Pescado houses" /></p>
+<p class="caption smallcaps">
+Plate LXXI. Pescado houses.</p>
+
+<p class="illustration">
+<a name="plateLXXII" id="plateLXXII"> </a>
+<img src="images/plate72.jpg" width="366" height="214"
+alt="Pescado masonry"
+title="Pescado masonry" /></p>
+<p class="caption smallcaps">
+Plate LXXII. Fragments of ancient masonry in Pescado.</p>
+
+<p>The principle of pueblo plan embodied in Kin-tiel, before referred
+to, is traceable in this village with particular clearness,
+distinguishing it from most of the Cibolan pueblos. No traces of kivas
+were met with in this village.</p>
+
+<p class="illustration">
+<a name="plateLXXIV" id="plateLXXIV"> </a>
+<img src="images/plate74.jpg" width="481" height="271"
+alt="Ojo Caliente"
+title="Ojo Caliente" /></p>
+<p class="caption smallcaps">
+Plate LXXIV. General view of Ojo Caliente.</p>
+
+<h6><a name="chapIII_3_3" id="chapIII_3_3">
+OJO CALIENTE.</a></h6>
+
+<p>The farming village of Ojo Caliente is located near the dry wash of
+the Zuñi River, and is about 15 miles distant from Zuñi, in a southerly
+direction. It is about midway between Hawikuh and Ketchipauan, two of
+the seven cities of Cibola above described. Though situated in fertile
+and well watered country and close to the remains of the ancient
+villages, it bears indications of having been built in comparatively
+recent times. There are no such evidences of connection with an older
+village as were found at Nutria and Pescado. The irregular and small
+clusters that form this village are widely scattered over a rather rough
+and broken site, as shown on the plan
+(Pl. <span class="smallroman">LXXIII</span>). Here again a large portion of the village
+is untenanted. The large cluster toward the eastern extremity of the
+group, and the adjoining houses situated on the low, level ground,
+compose the present inhabited village. The houses occupying the elevated
+rocky sites to the west (<a href="#plateLXXIV">Pl. <span class="smallroman">LXXIV</span></a>) are in an advanced stage of decay, and
+have been for a long time abandoned.</p>
+
+<!--pocket-->
+<p class="illustration">
+<a name="plateLXXIII" id="plateLXXIII"
+href="images/plate73.png">
+<img src="images/plate73thumb.png" width="489" height="183"
+alt="plan of Ojo Caliente"
+title="plan of Ojo Caliente" /></a></p>
+<p class="caption">
+<a href="images/plate73.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate LXXIII. Ojo Caliente, plan.</span></p>
+
+<p>This southern portion of the Cibola district seems to have been much
+exposed to the inroads of the Apache. One of the effects of this has
+already been noticed in the defensive arrangement in the Ketchipauan
+church. On account of such danger, the Zuñi were likely to have built
+the first house-clusters here on the highest points of the rocky
+promontory, notwithstanding the comparative inconvenience of such sites.
+Later, as the farmers gained confidence or as times became safer, they
+built houses down on the flat now occupied; but this apparently was not
+done all at once. The distribution of the houses over sites of varying
+degrees of inaccessibility, suggests a succession of approaches to the
+occupation of the open and unprotected valley.</p>
+
+<p>Some of the masonry of this village is carelessly constructed, and,
+as in the other farming pueblos, there is much less adobe plastering and
+smoothing of outer walls than in the home pueblo.</p>
+
+<p class="illustration">
+<a name="plateLXXV" id="plateLXXV"> </a>
+<img src="images/plate75.jpg" width="452" height="278"
+alt="Ojo Caliente house"
+title="Ojo Caliente house" /></p>
+<p class="caption smallcaps">
+Plate LXXV. House at Ojo Caliente.</p>
+
+<p>At the time of the survey the occupation of this village throughout
+the year was proposed by several families, who wished to resort to the
+parent village only at stated ceremonials and important festivals. The
+comparative security of recent times is thus tending to the
+disintegration of the huge central pueblo. This result must be
+inevitable, as the
+<a name="page097" id="page097"> </a>
+dying out of the defensive motive brings about a realization of the
+great inconvenience of the present centralized system.</p>
+
+<p class="illustration">
+<a name="plateLXXVIII" id="plateLXXVIII"> </a>
+<img src="images/plate78.jpg" width="486" height="322"
+alt="Zuñi"
+title="Zuñi" /></p>
+<p class="caption smallcaps">
+Plate LXXVIII. General inside view of Zuñi, looking west.</p>
+
+<h6><a name="chapIII_3_4" id="chapIII_3_4">
+ZUÑI.</a></h6>
+
+<p>The pueblo of Zuñi is built upon a small knoll on the north bank of
+the Zuñi River, about three miles west of the conspicuous mesa of
+Tâaaiyalana. It is the successor of all the original “Seven Cities of
+Cibola” of the Spaniards, and is the largest of the modern pueblos. As
+before stated, the remains of Halona, one of the “seven cities,” as
+identified by Mr. Cushing, have served as a nucleus for the construction
+of the modern pueblo, and have been incorporated into the most densely
+clustered portions, represented on the plan
+(Pl. <span class="smallroman">LXXVI</span>) by numbers 1 and&nbsp;4.</p>
+
+<!--pocket-->
+<p class="illustration">
+<a name="plateLXXVI" id="plateLXXVI"
+href="images/plate76.png">
+<img src="images/plate76thumb.png" width="352" height="192"
+alt="plan of Zuñi"
+title="plan of Zuñi" /></a></p>
+<p class="caption">
+<a href="images/plate76.png">full size</a><br/>
+<br/>
+<span class="smallcaps">
+Plate LXXVI. Zuñi, plan.</span></p>
+
+<p class="illustration">
+<img src="images/plate76k.png" width="457" height="295"
+alt="key to plate 76 (Zuñi plan)"
+title="key to plate 76 (Zuñi plan)" /></p>
+<p class="caption smallcaps">
+Key to Zuñi plan (Plate LXXVI).</p>
+
+<p>Some of the Cibolan villages were valley pueblos, built at a distance
+from the rocky mesas and canyons that must have served as quarries for
+the stone used in building. The Halona site was of this type, the
+nearest supply of stone being 3&nbsp;miles distant. At this point (Halona)
+the Zuñi River is perennial, and furnishes a plentiful supply of water
+at all seasons of the year. It disappears, however, a&nbsp;few miles west in
+a broad, sandy wash, to appear again 20 miles below the village,
+probably through the accession of small streams from springs farther
+down. The so-called river furnishes the sole water supply at Zuñi, with
+the exception of a single well or reservoir on the north side of the
+village.</p>
+
+<p>Zuñi has been built at a point having no special advantages for
+defense; convenience to large areas of tillable soil has apparently led
+to the selection of the site. This has subjected it in part to the same
+influences that had at an earlier date produced the carefully walled
+fortress pueblos of the valleys, where the defensive efficiency was due
+to well planned and constructed buildings. The result is that Zuñi,
+while not comparable in symmetry to many of the ancient examples,
+displays a remarkably compact arrangement of dwellings in the portions
+of the pueblos first occupied, designated on the plan (<a href="#plateLXXVI">Pl. <span class="smallroman">LXXVI</span></a>) as houses
+1 and&nbsp;4. Owing to this restriction of lateral expansion this portion of
+the pueblo has been carried to a great height.</p>
+
+<p class="illustration">
+<a name="plateLXXVII" id="plateLXXVII"> </a>
+<img src="images/plate77.png" width="509" height="270"
+alt="outline plan of Zuñi"
+title="outline plan of Zuñi" /></p>
+<p class="caption smallcaps">
+Plate LXXVII. Outline plan of Zuñi, showing distribution of oblique
+openings.</p>
+
+<p><a href="#plateLXXVIII">Pl. <span class="smallroman">LXXVIII</span></a> gives a general view of these higher
+terraces of the village from the southeast. A&nbsp;height of five distinct
+terraces from the ground is attained on the south side of this cluster.
+The same point, however, owing to the irregularity of the site, is only
+three terraces above the ground on the north side. The summit of the
+knoll upon which the older portion of Zuñi has been built is so uneven,
+and the houses themselves vary so much in dimensions, that the greatest
+disparity prevails in the height of terraces. A&nbsp;three-terrace portion of
+a cluster may have but two terraces immediately alongside, and
+throughout the more closely built portions of the village the exposed
+height of terraces varies from 1&nbsp;foot to 8 or 10 feet.
+Pl. <span class="smallroman">LXXIX</span>
+illustrates this feature.</p>
+
+<p class="illustration">
+<a name="plateLXXIX" id="plateLXXIX"> </a>
+<img src="images/plate79.jpg" width="484" height="341"
+alt="Zuñi terraces"
+title="Zuñi terraces" /></p>
+<p class="caption smallcaps">
+Plate LXXIX. Zuñi terraces.</p>
+
+<p>The growth of the village has apparently been far beyond the original
+expectation of the builders, and the crowded additions seem to have
+<a name="page098" id="page098"> </a>
+been joined to the clusters wherever the demand for more space was most
+urgent, without following any definite plan in their arrangement. In
+such of the ancient pueblo ruins as afford evidence of having passed
+through a similar experience, the crowding of additional cells seems to
+have been made to conform to some extent to a predetermined plan. At
+Kin-tiel we have seen how such additions to the number of habitable
+rooms could readily be made within the open court without affecting the
+symmetry and defensive efficiency of the pueblo; but here the nucleus of
+the large clusters was small and compact, so that enlargement has taken
+place only by the addition of rooms on the outside, both on the ground
+and on upper terraces.</p>
+
+<p class="illustration">
+<a name="plateLXXX" id="plateLXXX"> </a>
+<img src="images/plate80.jpg" width="484" height="282"
+alt="Zuñi church"
+title="Zuñi church" /></p>
+<p class="caption smallcaps">
+Plate LXXX. Old adobe church of Zuñi.</p>
+
+<p>The highest point of Zuñi, now showing five terraces, is said to have
+had a height of seven terraces as late as the middle of the present
+century, but at the time of the survey of the village no traces were
+seen of such additional stories. The top of the present fifth terrace,
+however, is more than 50 feet long, and affords sufficient space for the
+addition of a sixth and seventh story.</p>
+
+<p>The court or plaza in which the church (Pl.
+<span class="smallroman">LXXX</span>) stands is so much larger
+than such inclosures usually are when incorporated in a pueblo plan that
+it seems unlikely to have formed part of the original village. It
+probably resulted from locating the church prior to the construction of
+the eastern rows of the village. Certain features in the houses
+themselves indicate the later date of these rows.</p>
+
+<p class="illustration">
+<a name="plateLXXXI" id="plateLXXXI"> </a>
+<img src="images/plate81.jpg" width="491" height="311"
+alt="Zuñi rows"
+title="Zuñi rows" /></p>
+<p class="caption smallcaps">
+Plate LXXXI. Eastern rows of Zuñi.</p>
+
+<p>The arrangement of dwellings about a court
+(Pl. <span class="smallroman">LXXXII</span>),
+characteristic of the ancient pueblos, is likely to have prevailed in
+the small pueblo of Halona, about which clustered the many irregular
+houses that constitute modern Zuñi. Occasional traces of such an
+arrangement are still met with in portions of Zuñi, although nearly all
+of the ancient pueblo has been covered with rooms of later date. In the
+arrangement of Zuñi houses a noticeable difference in the manner of
+clustering is found in different parts of the pueblo. That portion
+designated as house No.&nbsp;1 on the plan, built over the remains of the
+original small pueblo, is unquestionably the oldest portion of the
+village. The clustering seems to have gone on around this center to an
+extraordinary and exceptional extent before any houses were built in
+other portions. House No.&nbsp;4 is a portion of the same structure, for
+although a street or passageway intervenes it is covered with two or
+three terraces, indicating that such connection was established at an
+early date. The rows on the lower ground to the east
+(Pl. <span class="smallroman">LXXXI</span>), where
+the rooms are not so densely clustered, were built after the removal of
+the defensive motive that influenced the construction of the central
+pile. These portions, arranged approximately in rows, show a marked
+resemblance to pueblos of known recent date. That they were built
+subsequently to the main clusters is also indicated by the abundant use
+of oblique openings and roof holes, where there is very little necessity
+for such contrivances. This feature was originally devised to meet the
+exceptional conditions of lighting
+<a name="page099" id="page099"> </a>
+imposed by dense crowding of the living rooms. It will be referred to
+again in examining the details of openings, and its wide departure from
+the arrangement found to prevail generally in pueblo constructions will
+there be noted. The habit of making such provisions for lighting inner
+rooms became fixed and was applied generally to many clusters much
+smaller in size than those of other pueblos where this feature was not
+developed and where the necessity for it was not felt. These less
+crowded rooms of more recent construction form the eastern portion of
+the pueblo, and also include the governor’s house on the south side.</p>
+
+<p class="illustration">
+<a name="plateLXXXII" id="plateLXXXII"> </a>
+<img src="images/plate82.jpg" width="483" height="314"
+alt="Zuñi court"
+title="Zuñi court" /></p>
+<p class="caption smallcaps">
+Plate LXXXII. A Zuñi court.</p>
+
+<p>The old ceremonial rooms or kivas, and the rooms for the meeting of
+the various orders or secret societies were, during the Spanish
+occupancy, crowded into the innermost recesses of this ancient portion
+of Zuñi under house No.&nbsp;1. But the kivas, in all likelihood, occupied a
+more marginal position before such foreign influence was brought to bear
+on them, as do some of the kivas at the present time, and as is the
+general practice in other modern pueblos.</p>
+
+<p class="illustration">
+<a name="plateLXXXIII" id="plateLXXXIII"> </a>
+<img src="images/plate83.jpg" width="484" height="305"
+alt="Zuñi house"
+title="Zuñi house" /></p>
+<p class="caption smallcaps">
+Plate LXXXIII. A Zuñi small house.</p>
+
+<p>
+<a name="page100" id="page100"> </a>
+</p>
+
+<h4 class="chapter"><a name="chapIV" id="chapIV">
+CHAPTER IV.</a></h4>
+
+<h5 class="extended">
+ARCHITECTURE OF TUSAYAN AND CIBOLA COMPARED BY CONSTRUCTIONAL
+DETAILS.</h5>
+
+
+<h5 class="section"><a name="chapIV_1" id="chapIV_1">
+INTRODUCTION.</a></h5>
+
+<p>In the two preceding chapters the more general features of form and
+distribution in the ruined and inhabited pueblos of Tusayan and Cibola
+have been described. In order to gain a full and definite idea of the
+architectural acquirements of the pueblo builders it will be necessary
+to examine closely the constructional details of their present houses,
+endeavoring, when practicable, to compare these details with the rather
+meager vestiges of similar features that have survived the destruction
+of the older villages, noting the extent to which these have departed
+from early types, and, where practicable, tracing the causes of such
+deviation. For convenience of comparison the various details of
+housebuilding for the two groups will be treated together.</p>
+
+<p>The writer is indebted to Mr. A.&nbsp;M. Stephen, the collector of
+the traditionary data already given, for information concerning the
+rites connected with house building at Tusayan incorporated in the
+following pages, and also for the carefully collected and valuable
+nomenclature of architectural details appended hereto. Material of this
+class pertaining to the Cibola group of pueblos unfortunately could not
+be procured.</p>
+
+
+<h5 class="section"><a name="chapIV_2" id="chapIV_2">
+HOUSE BUILDING.</a></h5>
+
+<h6><a name="chapIV_2_1" id="chapIV_2_1">
+RITES AND METHODS.</a></h6>
+
+<p>The ceremonials connected with house building in Tusayan are quite
+meager, but the various steps in the ritual, described in their proper
+connection in the following paragraphs, are well defined and definitely
+assigned to those who participate in the construction of the
+buildings.</p>
+
+<p>So far as could be ascertained there is no prearranged plan for an
+entire house of several stories, or for the arrangement of contiguous
+houses. Most of the ruins examined emphasize this absence of a clearly
+defined general plan governing the location of rooms added to the
+original cluster. Two notable exceptions to this want of definite plan
+occur among the ruins described. In Tusayan the Fire House (<a href="#fig7">Fig.&nbsp;7</a>) is evidently the result of a clearly defined
+purpose to give a definite form to the entire cluster, just as, on a
+very much larger scale, does the ruin of Kin-tiel, belonging to the
+Cibola group (<a href="#plateLXIII">Pl. <span class="smallroman">LXIII</span></a>). In both these cases the fixing of the
+outer wall on a definite line seems to have
+<a name="page101" id="page101"> </a>
+been regarded as of more importance than the specific locations of
+individual rooms or dwellings within this outline. Throughout that part
+of Tusayan which has been examined, however, the single room seems now
+to be regarded as the pueblo unit, and is spoken of as a complete house.
+It is the construction of such a house unit that is here to be
+described.</p>
+
+<p>A suitable site having been selected, the builder considers what the
+dimensions of the house should be, and these he measures by paces,
+placing a stone or other mark at each corner. He then goes to the woods
+and cuts a sufficient number of timbers for the roof of a length
+corresponding to the width of his house. Stones are also gathered and
+roughly dressed, and in all these operations he is assisted by his
+friends, usually of his own gens. These assistants receive no
+compensation except their food, but that of itself entails considerable
+expense on the builder, and causes him to build his house with as few
+helpers as possible.</p>
+
+<p>The material having been accumulated, the builder goes to the village
+chief, who prepares for him four small eagle feathers. The chief ties a
+short cotton string to the stem of each, sprinkles them with votive
+meal, and breathes upon them his prayers for the welfare of the proposed
+house and its occupants. These feathers are called Nakwa kwoci, a&nbsp;term
+meaning a breathed prayer, and the prayers are addressed to Másauwu, the
+Sun, and to other deities concerned in house-life. These feathers are
+placed at the four corners of the house and a large stone is laid over
+each of them. The builder then decides where the door is to be located,
+and marks the place by setting some food on each side of it; he then
+passes around the site from right to left, sprinkling piki crumbs and
+other particles of food, mixed with native tobacco, along the lines to
+be occupied by the walls. As he sprinkles this offering he sings to the
+Sun his Kitdauwi, house song: “Si-ai, a-hai, si-ai, a-hai.” The meaning
+of these words the people have now forgotten.</p>
+
+<p>Mr. Stephen has been informed by the Indians that the man is a mason
+and the woman the plasterer, the house belonging to the woman when
+finished; but according to my own observation this is not the universal
+practice in modern Tusayan. In the case of the house in Oraibi,
+illustrated in <a href="#plateXL">Pl. <span class="smallroman">XL</span></a> from a photograph, much, if not all, of the
+masonry was laid, as well as finished and plastered, by the woman of the
+house and her female relatives. There was but one man present at this
+house-building, whose grudgingly performed duty consisted of lifting the
+larger roof beams and lintels into place and of giving occasional
+assistance in the heavier work. The ground about this house was strewn
+with quantities of broken stone for masonry, which seemed to be all
+prepared and brought to the spot before building began; but often the
+various divisions of the work are carried on by both men and women
+simultaneously. While the men were dressing the stones, the women
+brought earth and water and mixed a mud plaster. Then the walls were
+laid in irregular courses, using the mortar very sparingly.</p>
+
+<p>
+<a name="page102" id="page102"> </a>
+The house is always built in the form of a parallelogram, the walls
+being from 7 to 8 feet high, and of irregular thickness, sometimes
+varying from 15 to 22 inches in different parts of the same wall.</p>
+
+<p>Pine, piñon, juniper, cottonwood, willow, and indeed all the
+available trees of the region are used in house construction. The main
+beams for the roof are usually of pine or cottonwood, from which the
+bark has been stripped. The roof is always made nearly level, and the
+ends of the beams are placed across the side walls at intervals of about
+2 feet. Above these are laid smaller poles parallel with the side walls,
+and not more than a foot apart. Across these again are laid reeds or
+small willows, as close together as they can be placed, and above this
+series is crossed a layer of grass or small twigs and weeds. Over this
+framework a layer of mud is spread, which, after drying, is covered with
+earth and firmly trodden down. The making of the roof is the work of the
+women. When it is finished the women proceed to spread a thick coating
+of mud for a floor. After this follows the application of plaster to the
+walls. Formerly a custom prevailed of leaving a small space on the wall
+unplastered, a&nbsp;belief then existing that a certain Katchina came and
+finished it, and although the space remained bare it was considered to
+be covered with an invisible plaster.</p>
+
+<p>The house being thus far completed, the builder prepares four
+feathers similar to those prepared by the chief, and ties them to a
+short piece of willow, the end of which is inserted over one of the
+central roof beams. These feathers are renewed every year at the feast
+of Soyalyina, celebrated in December, when the sun begins to return
+north ward. The builder also makes an offering to Másauwu (called
+“feeding the house”) by placing fragments of food among the rafters,
+beseeching him not to hasten the departure of any of the family to the
+under world.</p>
+
+<p>A hole is left in one corner of the roof, and under this the woman
+builds a fireplace and chimney. The former is usually but a small cavity
+about a foot square in the corner of the floor. Over this a chimney hood
+is constructed, its lower rim being about 3&nbsp;feet above the floor.</p>
+
+<p>As a rule the house has no eaves, the roof being finished with a
+stone coping laid flush with the wall and standing a few inches higher
+than the roof to preserve the earth covering from being blown or washed
+away. Roof-drains of various materials are also commonly inserted in the
+copings, as will be described later.</p>
+
+<p>All the natives, as far as could be ascertained, regard this
+single-roomed house as being complete in itself, but they also consider
+it the nucleus of the larger structure. When more space is desired, as
+when the daughters of the house marry and require room for themselves,
+another house is built in front of and adjoining the first one, and a
+second story is often added to the original house. The same ceremony is
+observed in building the ground story in front, but there is no ceremony
+for the second and additional stories.</p>
+
+<p>
+<a name="page103" id="page103"> </a>
+Anawita (war-chief of Sichumovi) describes the house in Walpi in which
+he was born as having had five rooms on the ground floor, and as being
+four stories high, but it was terraced both in front and rear, his
+sisters and their families occupying the rear portion. The fourth story
+consisted of a single room and had terraces on two opposite sides. This
+old house is now very dilapidated, and the greater portion of the walls
+have been carried away. There is no prescribed position for
+communicating doorways, but the outer doors are usually placed in the
+lee walls to avoid the prevailing southwest winds.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig19" id="fig19"> </a>
+<img src="images/fig19.png" width="320" height="177"
+alt="Tusayan wood rack"
+title="Tusayan wood rack" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 19.</span>
+A Tusayan wood rack.
+</td>
+</tr>
+</table>
+
+<p>Formerly on the approach of cold weather, and to some extent the
+custom still exists, people withdrew from the upper stories to the
+kikoli rooms, where they huddled together to keep warm. Economy in the
+consumption of fuel also prompted this expedient; but these ground-floor
+rooms forming the first terrace, as a rule having no external doorways,
+and entered from without by means of a roof hatchway provided with a
+ladder, are ordinarily used only for purposes of storage. Even their
+roofs are largely utilized for the temporary storage of many household
+articles, and in the autumn, after the harvests have been gathered, the
+terraces and copings are often covered with drying peaches, and the
+peculiar long strips into which pumpkins and squashes have been cut to
+facilitate their desiccation for winter use. Among other things the
+household supply of wood is sometimes piled up at one end of this
+terrace, but more commonly the natives have so many other uses for this
+space that the sticks of fuel are piled up on a rude projecting skeleton
+of poles, supported on one side by two upright forked sticks set into
+the ground, and on the other resting upon the stone coping of the wall,
+as illustrated in Fig. 19. At other times poles
+are laid across a re-entering angle of a house and used as a wood rack,
+without any support from the ground. At the autumn season not only is
+the available space of the first terrace fully utilized, but every
+projecting beam or stick is covered with strings of drying meat or
+squashes, and many long poles are extended between convenient points to
+do temporary
+<a name="page104" id="page104"> </a>
+duty as additional drying racks. There was in all cases at least one
+fireplace on the inside in the upper stories, but the cooking was done
+on the terraces, usually at the end of the first or kikoli roof. This is
+still a general custom, and the end of the first terrace is usually
+walled up and roofed, and is called tupubi. Tuma is the name of the flat
+baking-stone used in the houses, but the flat stone used for baking at
+the kisi in the field is called tupubi.</p>
+
+<p>Kikoli is the name of the ground story of the house, which has no
+opening in the outer wall.</p>
+
+<p>The term for the terraced roofs is ihpobi, and is applied to all of
+them; but the tupatca ihpobi, or third terrace, is the place of general
+resort, and is regarded as a common loitering place, no one claiming
+distinct ownership. This is suggestive of an early communal dwelling,
+but nothing definite can now be ascertained on this point. In this
+connection it may also be noted that the eldest sister’s house is
+regarded as their home by her younger brothers and her nieces and
+nephews.</p>
+
+<p>Aside from the tupubi, there are numerous small rooms especially
+constructed for baking the thin, paper-like bread called piki. These are
+usually not more than from 5 to 7 feet high, with interior dimensions
+not larger than 7 feet by 10, and they are called tumcokobi, the place
+of the flat stone, tuma being the name of the stone itself, and tcok
+describing its flat position. Many of the ground-floor rooms in the
+dwelling houses are also devoted to this use.</p>
+
+<p>The terms above are those more commonly used in referring to the
+houses and their leading features. A&nbsp;more exhaustive vocabulary of
+architectural terms, comprising those especially applied to the various
+constructional features of the kivas or ceremonial rooms, and to the
+“kisis,” or temporary brush shelters for field use, will be found near
+the end of this paper.</p>
+
+<p>The only trace of a traditional village plan, or arrangement of
+contiguous houses, is found in a meager mention in some of the
+traditions, that rows of houses were built to inclose the kiva, and to
+form an appropriate place for the public dances and processions of
+masked dancers. No definite ground plan, however, is ascribed to these
+traditional court-inclosing houses, although at one period in the
+evolution of this defensive type of architecture they must have partaken
+somewhat of the symmetrical grouping found on the Rio Chaco and
+elsewhere.</p>
+
+<h6><a name="chapIV_2_2" id="chapIV_2_2">
+LOCALIZATION OF GENTES.</a></h6>
+
+<p>In the older and more symmetrical examples there was doubtless some
+effort to distribute the various gentes, or at least the phratries, in
+definite quarters of the village, as stated traditionally. At the
+present day, however, there is but little trace of such localization. In
+the case of Oraibi, the largest of the Tusayan villages, Mr. Stephen has
+with great care and patience ascertained the distribution of the various
+gentes in the village, as recorded on the accompanying skeleton plan
+<a name="page105" id="page105"> </a>
+(<a href="#plateXXXVII">Pl. <span class="smallroman">XXXVII</span></a>). An examination of the diagram in
+connection with the appended list of the families occupying Oraibi will
+at once show that, however clearly defined may have been the quarters of
+various gentes in the traditional village, the greatest confusion
+prevails at the present time. The families numerically most important,
+such as the Reed, Coyote, Lizard, and Badger, are represented in all of
+the larger house clusters.</p>
+
+<h5><i>Families occupying Oraibi.</i></h5>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td class="center" colspan="4">
+[See house plan&mdash;house numbers in blue.]</td>
+</tr>
+<tr>
+<td class="item">1.</td>
+<td class="rightpad">Kokop</td>
+<td class="rightpad">winwuh</td>
+<td>Burrowing owl.</td>
+</tr>
+<tr>
+<td class="item">2.</td>
+<td>Pikyas</td>
+<td>nyumuh</td>
+<td>Young corn plant.</td>
+</tr>
+<tr>
+<td class="item">3.</td>
+<td>Bakab</td>
+<td>winwuh</td>
+<td>Reed (<i>Phragmites communis</i>).</td>
+</tr>
+<tr>
+<td class="item">4.</td>
+<td>Tuwa</td>
+<td>winwuh</td>
+<td>Sand.</td>
+</tr>
+<tr>
+<td class="item">5.</td>
+<td>Tdap</td>
+<td>nyumuh</td>
+<td>Jack rabbit.</td>
+</tr>
+<tr>
+<td class="item">6.</td>
+<td>Honan</td>
+<td>winwuh</td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">7.</td>
+<td>Isn</td>
+<td>winwuh</td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">8.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">9.</td>
+<td>Kukuto</td>
+<td>winwuh</td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">10.</td>
+<td>Honan</td>
+<td>nyumuh</td>
+<td>Bear.</td>
+</tr>
+<tr>
+<td class="item">11.</td>
+<td>Honau</td>
+<td></td>
+<td>Bear.</td>
+</tr>
+<tr>
+<td class="item">12.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">13.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">14.</td>
+<td>Tcuin</td>
+<td></td>
+<td>Rattlesnake.</td>
+</tr>
+<tr>
+<td class="item">15.</td>
+<td>Awat</td>
+<td></td>
+<td>Bow.</td>
+</tr>
+<tr>
+<td class="item">16.</td>
+<td>Kokuan</td>
+<td></td>
+<td>Spider.</td>
+</tr>
+<tr>
+<td class="item">17.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">18.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">19.</td>
+<td>See 1</td>
+<td></td>
+<td>Burrowing owl.</td>
+</tr>
+<tr>
+<td class="item">20.</td>
+<td>See 1</td>
+<td></td>
+<td>Burrowing owl.</td>
+</tr>
+<tr>
+<td class="item">21.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">22.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">23.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">23½.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">24.</td>
+<td>See 2</td>
+<td></td>
+<td>Young corn.</td>
+</tr>
+<tr>
+<td class="item">25.</td>
+<td>Gyazro</td>
+<td>nyumuh</td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">26.</td>
+<td>See 2</td>
+<td></td>
+<td>Young corn.</td>
+</tr>
+<tr>
+<td class="item">27.</td>
+<td>Kwah</td>
+<td>nyumuh</td>
+<td>Eagle.</td>
+</tr>
+<tr>
+<td class="item">28.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">29.</td>
+<td>See 27</td>
+<td></td>
+<td>Eagle.</td>
+</tr>
+<tr>
+<td class="item">30.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">31.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">32.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">33.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">34.</td>
+<td>See 2</td>
+<td></td>
+<td>Young corn.</td>
+</tr>
+<tr>
+<td class="item">35.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">36.</td>
+<td>See 16</td>
+<td></td>
+<td>Spider.</td>
+</tr>
+<tr>
+<td class="item">37.</td>
+<td>Batun</td>
+<td>winwuh</td>
+<td>Squash.</td>
+</tr>
+<tr>
+<td class="item">38.</td>
+<td>See 15</td>
+<td></td>
+<td>Bow.</td>
+</tr>
+<tr>
+<td class="item">39.</td>
+<td>See 15</td>
+<td></td>
+<td>Bow.</td>
+</tr>
+<tr>
+<td class="item">40.</td>
+<td>See 1</td>
+<td></td>
+<td>Burrowing owl.</td>
+</tr>
+<tr>
+<td class="item">41.</td>
+<td>See 1</td>
+<td></td>
+<td>Burrowing owl.</td>
+</tr>
+<tr>
+<td class="item">42.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">43.</td>
+<td>Tdawuh</td>
+<td>winwuh</td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">
+<a name="page106" id="page106"> </a>
+44.</td>
+<td>See 1</td>
+<td></td>
+<td>Burrowing owl.</td>
+</tr>
+<tr>
+<td class="item">45.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">46.</td>
+<td>See 1</td>
+<td></td>
+<td>Burrowing owl.</td>
+</tr>
+<tr>
+<td class="item">47.</td>
+<td>See 1</td>
+<td></td>
+<td>Burrowing-owl.</td>
+</tr>
+<tr>
+<td class="item">48.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">49.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">50.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">51.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">52.</td>
+<td>See 27</td>
+<td></td>
+<td>Eagle.</td>
+</tr>
+<tr>
+<td class="item">53.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">54.</td>
+<td>See 1</td>
+<td></td>
+<td>Burrowing owl.</td>
+</tr>
+<tr>
+<td class="item">55.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">56.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">57.</td>
+<td>Pobol</td>
+<td>winwuh</td>
+<td>Moth.</td>
+</tr>
+<tr>
+<td class="item">58.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">59.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">60.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">61.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">62.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">63.</td>
+<td>Atoko</td>
+<td>winwuh</td>
+<td>Crane.</td>
+</tr>
+<tr>
+<td class="item">64.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">65.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">66.</td>
+<td>Keli</td>
+<td>nyumuh</td>
+<td>Hawk.</td>
+</tr>
+<tr>
+<td class="item">67.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">68.</td>
+<td>See 43</td>
+<td></td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">69.</td>
+<td>Kwan</td>
+<td>nyumuh</td>
+<td>Mescal cake.</td>
+</tr>
+<tr>
+<td class="item">70.</td>
+<td>See 27</td>
+<td></td>
+<td>Eagle.</td>
+</tr>
+<tr>
+<td class="item">71.</td>
+<td>See 27</td>
+<td></td>
+<td>Eagle.</td>
+</tr>
+<tr>
+<td class="item">72.</td>
+<td>See 2</td>
+<td></td>
+<td>Corn.</td>
+</tr>
+<tr>
+<td class="item">73.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">74.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">75.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">76.</td>
+<td>See 27</td>
+<td></td>
+<td>Eagle.</td>
+</tr>
+<tr>
+<td class="item">77.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">78.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">79.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">80.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">81.</td>
+<td>See 43</td>
+<td></td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">82.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">83.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">84.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">85.</td>
+<td>See 43</td>
+<td></td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">86.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">87.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">88.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">89.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">90.</td>
+<td>Vacant.</td>
+<td></td><td></td>
+</tr>
+<tr>
+<td class="item">91.</td>
+<td>See 2</td>
+<td></td>
+<td>Corn.</td>
+</tr>
+<tr>
+<td class="item">92.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">93.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">94.</td>
+<td>See 10</td>
+<td></td>
+<td>Bear.</td>
+</tr>
+<tr>
+<td class="item">95.</td>
+<td>See 19</td>
+<td></td>
+<td>Bear.</td>
+</tr>
+<tr>
+<td class="item">96.</td>
+<td>See 4</td>
+<td></td>
+<td>Sand.</td>
+</tr>
+<tr>
+<td class="item">97.</td>
+<td>See 4</td>
+<td></td>
+<td>Sand.</td>
+</tr>
+<tr>
+<td class="item">98.</td>
+<td>See 4</td>
+<td></td>
+<td>Sand.</td>
+</tr>
+<tr>
+<td class="item">99.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">
+<a name="page107" id="page107"> </a>
+100.</td>
+<td>See 2</td>
+<td></td>
+<td>Corn.</td>
+</tr>
+<tr>
+<td class="item">101.</td>
+<td>See 2</td>
+<td></td>
+<td>Corn.</td>
+</tr>
+<tr>
+<td class="item">102.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">103.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">104.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">105.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">106.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">107.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">108.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">109.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">110.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">111.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">112.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">113.</td>
+<td>Vacant.</td>
+<td></td><td></td>
+</tr>
+<tr>
+<td class="item">114.</td>
+<td>Vacant.</td>
+<td></td><td></td>
+</tr>
+<tr>
+<td class="item">115.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">116.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">117.</td>
+<td>See 43</td>
+<td></td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">118.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">119.</td>
+<td>See 43</td>
+<td></td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">120.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">121.</td>
+<td>See 43</td>
+<td></td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">122.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">123.</td>
+<td>See 4</td>
+<td></td>
+<td>Sand.</td>
+</tr>
+<tr>
+<td class="item">124.</td>
+<td>See 4</td>
+<td></td>
+<td>Sand.</td>
+</tr>
+<tr>
+<td class="item">125.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">126.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">127.</td>
+<td>See 43</td>
+<td></td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">128.</td>
+<td>See 2</td>
+<td></td>
+<td>Corn.</td>
+</tr>
+<tr>
+<td class="item">129.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">130.</td>
+<td>See 4</td>
+<td></td>
+<td>Sand.</td>
+</tr>
+<tr>
+<td class="item">131.</td>
+<td>See 4</td>
+<td></td>
+<td>Sand.</td>
+</tr>
+<tr>
+<td class="item">132.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">133.</td>
+<td>See 9</td>
+<td></td>
+<td>Lizard.</td>
+</tr>
+<tr>
+<td class="item">134.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">135.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">136.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">137.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">138.</td>
+<td>Vacant.</td>
+<td></td><td></td>
+</tr>
+<tr>
+<td class="item">139.</td>
+<td>See 10</td>
+<td></td>
+<td>Bear.</td>
+</tr>
+<tr>
+<td class="item">140.</td>
+<td>See 3</td>
+<td></td>
+<td>Reed.</td>
+</tr>
+<tr>
+<td class="item">141.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">142.</td>
+<td>See 25</td>
+<td></td>
+<td>Paroquet.</td>
+</tr>
+<tr>
+<td class="item">143.</td>
+<td>See 43</td>
+<td></td>
+<td>Sun.</td>
+</tr>
+<tr>
+<td class="item">144.</td>
+<td>See 5</td>
+<td></td>
+<td>Rabbit.</td>
+</tr>
+<tr>
+<td class="item">145.</td>
+<td>See 15</td>
+<td></td>
+<td>Bow.</td>
+</tr>
+<tr>
+<td class="item">146.</td>
+<td>Vacant.</td>
+<td></td><td></td>
+</tr>
+<tr>
+<td class="item">147.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">148.</td>
+<td>Katcin</td>
+<td>nyumuh</td>
+<td>Katcina.</td>
+</tr>
+<tr>
+<td class="item">149.</td>
+<td>See 7</td>
+<td></td>
+<td>Coyote.</td>
+</tr>
+<tr>
+<td class="item">150.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">151.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">152.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+<tr>
+<td class="item">153.</td>
+<td>See 6</td>
+<td></td>
+<td>Badger.</td>
+</tr>
+</table>
+
+<p>
+<a name="page108" id="page108"> </a>
+Counting No. 23½, this makes 154 houses; 149 occupied, 5&nbsp;vacant.</p>
+
+<table class="text" summary="list of names">
+<tr>
+<td>Reed families</td>
+<td class="number">25</td>
+<td rowspan="7">&nbsp;</td>
+<td>Corn families</td>
+<td class="number">9</td>
+</tr>
+<tr>
+<td>Coyote families</td>
+<td class="number">17</td>
+<td>Sun families</td>
+<td class="number">9</td>
+</tr>
+<tr>
+<td>Lizard families</td>
+<td class="number">14</td>
+<td>Sand families</td>
+<td class="number">8</td>
+</tr>
+<tr>
+<td>Badger families</td>
+<td class="number">13</td>
+<td>Eagle families</td>
+<td class="number">6</td>
+</tr>
+<tr>
+<td>Rabbit families</td>
+<td class="number">11</td>
+<td>Bear families</td>
+<td class="number">5</td>
+</tr>
+<tr>
+<td>Paroquet families</td>
+<td class="number">10</td>
+<td>Bow families</td>
+<td class="number">4</td>
+</tr>
+<tr>
+<td>Owl families</td>
+<td class="number">9</td>
+<td>Spider families</td>
+<td class="number">2</td>
+</tr>
+<tr>
+<td class="center" colspan="5"><p>
+Snake, Squash, Moth, Crane, Hawk, Mescal cake, Katcina, one
+each.</p></td>
+</tr>
+</table>
+
+<p>No tradition of gentile localization was discovered in Cibola.
+Notwithstanding the decided difference in the general arrangements of
+rooms in the eastern and western portions of the village, the
+architectural evidence does not indicate the construction of the various
+portions of the present Zuñi by distinct groups of people.</p>
+
+<h6><a name="chapIV_2_3" id="chapIV_2_3">
+INTERIOR ARRANGEMENT.</a></h6>
+
+<p>On account of the purpose for which much of the architectural data
+here given were originally obtained, viz, for the construction of large
+scale models of the pueblos, the material is much more abundant for the
+treatment of exterior than of interior details. Still, when the walls
+and roof, with all their attendant features, have been fully recorded,
+little remains to be described about a pueblo house; for such of its
+interior details as do not connect with the external features are of the
+simplest character. At the time of the survey of these pueblos no
+exhaustive study of the interior of the houses was practicable, but the
+illustrations present typical dwelling rooms from both Tusayan and Zuñi.
+As a rule the rooms are smaller in Tusayan than at Zuñi.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig20" id="fig20"> </a>
+<img src="images/fig20.png" width="277" height="276"
+alt="Tusayan room"
+title="Tusayan room" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 20.</span>
+Interior ground plan<br/>
+of a Tusayan room.
+</td>
+</tr>
+</table>
+
+<p>The illustration, Fig. 20, shows the ground
+plan of a second-story room of Mashongnavi. This room measures 13 by 12½
+feet, and is considerably
+<a name="page109" id="page109"> </a>
+below the average size of the rooms in these villages. A&nbsp;projecting
+buttress or pier in the middle of the east wall divides that end of the
+room into two portions. One side is provided with facilities for storage
+in the construction of a bench or ledge, used as a shelf, 3&nbsp;feet high
+from the floor; and a small inclosed triangular bin, built directly on
+the floor, by fixing a thin slab of stone into the masonry. The whole
+construction has been treated with the usual coating of mud, which has
+afterwards been whitewashed, with the exception of a 10-inch band that
+encircles the whole room at the floor line, occupying the position of a
+baseboard. The other side of the dividing pier forms a recess, that is
+wholly given up to a series of metates or mealing stones; an
+indispensable feature of every pueblo household. It is quite common to
+find a series of metates, as in the present instance, filling the entire
+available width of a recess or bay, and leaving only so much of its
+depth behind the stones as will afford floor space for the kneeling
+women who grind the corn. In larger open apartments undivided by
+buttress or pier, the metates are usually built in or near one corner.
+They are always so arranged that those who operate them face the middle
+of the room. The floor is simply a smoothly plastered dressing of clay
+of the same character as the usual external roof covering. It is, in
+fact, simply the roof of the room below smoothed and finished with
+special care. Such apartments, even in upper stories, are sometimes
+carefully paved over the entire surface with large flat slabs of stone.
+It is often difficult to procure rectangular slabs of sufficient size
+for this purpose, but the irregularities of outline of the large flat
+stones are very skillfully interfitted, furnishing, when finished, a
+smoothly paved floor easily swept and kept clean.</p>
+
+<p>On the right of the doorway as one enters this house are the
+fireplace and chimney, built in the corner of the room. In this case the
+chimney hood is of semicircular form, as indicated on the plan. The
+entire chimney is illustrated in <a href="#fig62">Fig. 62</a>, which
+represents the typical curved form of hood. In the corner of the left as
+one enters are two ollas, or water jars, which are always kept filled.
+On the floor near the water jars is indicated a jug or canteen, a&nbsp;form
+of vessel used for bringing in water from the springs and wells at the
+foot of the mesa. At Zuñi water seems to be all brought directly in the
+ollas, or water jars, in which it is kept, this canteen form not being
+in use for the purpose.</p>
+
+<p>The entrance doorway to this house, as indicated on the plan, is set
+back or stepped on one side, a&nbsp;type of opening which is quite common in
+Tusayan. This form is illustrated in <a href="#fig84">Fig.&nbsp;84</a>.</p>
+
+<p class="illustration">
+<a name="plateLXXXIV" id="plateLXXXIV"> </a>
+<img src="images/plate84.jpg" width="483" height="322"
+alt="Oraibi building"
+title="Oraibi building" /></p>
+<p class="caption smallcaps">
+Plate LXXXIV. A house-building at Oraibi.</p>
+
+<p>This room has three windows, all of very small size, but it has no
+interior communication with any other room. In this respect it is
+exceptional. Ordinarily rooms communicate with others of the
+cluster.</p>
+
+<p>Pl. <span class="smallroman">LXXXV</span> shows another typical Tusayan interior in
+perspective. It illustrates essentially the same arrangement as does the
+preceding example. The room is much larger than the one above described,
+and it
+<a name="page110" id="page110"> </a>
+is divided midway of its length by a similar buttress. This buttress
+supports a heavy girder, thus admitting of the use of two tiers of floor
+beams to span the whole length of the room. The fireplace and chimney
+are similar to those described, as is also the single compartment for
+mealing stones. In this case, however, this portion of the room is quite
+large, and the row of mealing stones is built at right angles to its
+back wall and not parallel with&nbsp;it.</p>
+
+<p class="illustration">
+<a name="plateLXXXV" id="plateLXXXV"> </a>
+<img src="images/plate85.jpg" width="462" height="292"
+alt="Tusayan interior"
+title="Tusayan interior" /></p>
+<p class="caption smallcaps">
+Plate LXXXV. A Tusayan interior.</p>
+
+<p>The right-hand portion of the room is provided with a long, straight
+pole suspended from the roof beams. This is a common feature in both
+Tusayan and Zuñi. The pole is used for the suspension of the household
+stock of blankets and other garments. The windows of this house are
+small, and two of them, in the right-hand division of the room, have
+been roughly sealed up with masonry.</p>
+
+<p>Pl. <span class="smallroman">LXXXVI</span> illustrates a typical Zuñi interior. In
+this instance the example happens to be rather larger than the average
+room. It will be noticed that this apartment has many features in common
+with that at Tusayan last described. The pole upon which blankets are
+suspended is here incorporated into the original construction of the
+house, its two ends being deeply embedded in the masonry of the wall.
+The entire floor is paved with slabs of much more regular form than any
+used at Tusayan. The Zuñi have access to building stone which is of a
+much better grade than is available in Tusayan.</p>
+
+<p class="illustration">
+<a name="plateLXXXVI" id="plateLXXXVI"> </a>
+<img src="images/plate86.jpg" width="423" height="295"
+alt="Zuñi interior"
+title="Zuñi interior" /></p>
+<p class="caption smallcaps">
+Plate LXXXVI. A Zuñi interior.</p>
+
+<p>This room is furnished with long, raised benches of masonry along the
+sides, a&nbsp;feature much more common at Zuñi than at Tusayan. Usually such
+benches extend along the whole length of a wall, but here the projection
+is interrupted on one side by the fireplace and chimney, and on the left
+it terminates abruptly near the beginning of a tier of mealing stones,
+in order to afford floor space for the women who grind. The metates are
+arranged in the usual manner, three in a row, but there is an additional
+detached section placed at right angles to the main series. The sill of
+the doorway by which this room communicates with an adjoining one is
+raised about 18 inches above the floor, and is provided with a rudely
+mortised door in a single panel. Alongside is a small hole through which
+the occupant can prop the door on the inside of the communicating room.
+The subsequent sealing of the small hand-hole with mud effectually
+closes the house against intrusion. The unusual height of this door sill
+from the floor has necessitated the construction of a small step, which
+is built of masonry and covered with a single slab of stone. All the
+doors of Zuñi are more or less raised above the ground or floor, though
+seldom to the extent shown in the present example. This room has no
+external door and can be directly entered only by means of the hatchway
+and ladder shown in the drawing. At one time this room was probably
+bounded by outer walls and was provided with both door and windows,
+though now no evidence of the door remains, and the windows have become
+niches in the wall utilized for the reception of the small odds and ends
+of a Zuñi household. The
+<a name="page111" id="page111"> </a>
+chimney of this house will be noticed as differing materially, both in
+form and in its position in the room, from the Tusayan examples. This
+form is, however, the most common type of chimney used in Zuñi at the
+present time, although many examples of the curved type also occur. It
+is built about midway of the long wall of the room. The Tusayan chimneys
+seldom occupy such a position, but are nearly always built in corners.
+The use of a pier or buttress-projection for the support of a roof
+girder that is characteristic of Tusayan is not practiced at Zuñi to any
+extent. Deer horns have been built into the wall of the room to answer
+the purpose of pegs, upon which various household articles are
+suspended.</p>
+
+<p>The various features, whose positions in the pueblo dwelling house
+have been briefly described above, will each be made the subject of more
+exhaustive study in tracing the various modifications of form through
+which they have passed. The above outline will furnish a general idea of
+the place that these details occupy in the house itself.</p>
+
+
+<h5 class="section"><a name="chapIV_3" id="chapIV_3">
+KIVAS IN TUSAYAN.</a></h5>
+
+<p><a name="chapIV_3_1_1" id="chapIV_3_1_1"><i>General use of
+kivas.</i></a>&mdash;Wherever the remains of pueblo architecture occur
+among the plateaus of the southwest there appears in every important
+village throughout all changes of form, due to variations of environment
+and other causes, the evidence of chambers of exceptional character. The
+chambers are distinguishable from the typical dwelling rooms by their
+size and position, and, generally, in ancient examples, by their
+circular form. This feature of pueblo architecture has survived to the
+present time, and is prominent in all modern pueblos that have come
+under the writer’s notice, including the villages of Acoma and Jemez,
+belonging to the Rio Grande group, as well as in the pueblos under
+discussion. In all the pueblos that have been examined, both ancient and
+modern, with the exception of those of Tusayan, these special rooms,
+used for ceremonial purposes, occupy marginal or semidetached positions
+in the house clusters. The latter are wholly detached from the houses,
+as may be seen from the ground plans.</p>
+
+<p><a name="chapIV_3_1_2" id="chapIV_3_1_2"><i>Origin of the
+name.</i></a>&mdash;Such ceremonial rooms are known usually by the
+Spanish term “estufa,” meaning literally a stove, and here used in the
+sense of “sweat house,” but the term is misleading, as it more properly
+describes the small sweat houses that are used ceremonially by
+lodge-building Indians, such as the Navajo. At the suggestion of Major
+Powell the Tusayan word for this everpresent feature of pueblo
+architecture has been adopted, as being much more appropriate. The word
+“kiva,” then, will be understood to designate the ceremonial chamber of
+the pueblo building peoples, ancient and modern.</p>
+
+<p><a name="chapIV_3_1_3" id="chapIV_3_1_3"><i>Antiquity of the
+kiva.</i></a>&mdash;The widespread occurrence of this feature and its
+evident antiquity distinguish it as being especially worthy of
+exhaustive study, especially as embodied in its construction maybe found
+survivals of early methods of arrangement that have long ago become
+<a name="page112" id="page112"> </a>
+extinct in the constantly improving art of housebuilding, but which are
+preserved through the well known tendency of the survival of ancient
+practice in matters pertaining to the religious observances of a
+primitive people. Unfortunately, in the past the Zuñi have been exposed
+to the repressive policy of the Spanish authorities, and this has
+probably seriously affected the purity of the kiva type. At one time,
+when the ceremonial observances of the Zuñi took place in secret for
+fear of incurring the wrath of the Spanish priests, the original kivas
+must have been wholly abandoned, and though at the present time some of
+the kivas of Zuñi occupy marginal positions in the cell clusters, just
+as in many ancient examples, it is doubtful whether these rooms
+faithfully represent the original type of kiva. There seems to be but
+little structural evidence to distinguish the present kivas from
+ordinary large Zuñi rooms beyond the special character of the fireplace
+and of the entrance trap door, features which will be fully described
+later. At Tusayan, on the other hand, we find a distinct and
+characteristic structural plan of the kiva, as well as many special
+constructive devices. Although the position of the ceremonial room is
+here exceptional in its entire separation from the dwelling, this is due
+to clearly traceable influences in the immediate orograpic environment,
+and the wholly subterranean arrangement of most of the kivas in this
+group is also due to the same local causes.</p>
+
+<p class="illustration">
+<a name="plateLXXXVII" id="plateLXXXVII"> </a>
+<img src="images/plate87.png" width="424" height="288"
+alt="Tusayan kiva hatchway"
+title="Tusayan kiva hatchway" /></p>
+<p class="caption smallcaps">
+Plate LXXXVII. A kiva hatchway of Tusayan.</p>
+
+<p><a name="chapIV_3_1_4" id="chapIV_3_1_4"><i>Excavation of the
+kiva.</i></a>&mdash;The tendency to depress or partly excavate the
+ceremonial chamber existed in Zuñi, as in all the ancient pueblo
+buildings which have been examined; but the solid rock of the mesa tops
+in Tusayan did not admit of the necessary excavation, and the
+persistence of this requirement, which, as I shall elsewhere show, has
+an important connection with the early types of pueblo building,
+compelled the occupants of these rocky sites to locate their kivas at
+points where depressions already existed. Such facilities were most
+abundant near the margins of the mesas, where in many places large
+blocks of sandstone have fallen out from the edge of the surface
+stratum, leaving nearly rectangular spaces at the summit of the cliff
+wall. The construction of their villages on these rocky promontories
+forced the Tusayan builders to sacrifice, to a large extent, the
+traditional and customary arrangement of the kivas within the
+house-inclosed courts of the pueblo, in order to obtain properly
+depressed sites. This accidental effect of the immediate environment
+resulted in giving unusual prominence to the sinking of the ceremonial
+room below the ground surface, but a certain amount of excavation is
+found as a constant accompaniment of this feature throughout the pueblo
+region in both ancient and modern villages. Even at Zuñi, where the
+kivas appear to retain but few of the specialized features that
+distinguish them at Tusayan, the floors are found to be below the
+general level of the ground. But at Tusayan the development of this
+single requirement has been carried to such an extent that many of the
+kivas are
+<a name="page113" id="page113"> </a>
+wholly subterranean. This is particularly the case with those that
+occupy marginal sites on the mesas, such as have been referred to above.
+In such instances the broken-out recesses in the upper rocks have been
+walled up on the outside, roughly lined with masonry within, and roofed
+over in the usual manner. In many cases the depth of these rock niches
+is such that the kiva roof when finished does not project above the
+general level of the mesa summit, and its earth covering is
+indistinguishable from the adjoining surface, except for the presence of
+the box-like projection of masonry that surrounds the entrance trap door
+and its ladder (see Pl. <span class="smallroman">LXXXVII</span>). Frequently in such cases the surface
+of the ground shows no evidence of the outlines or dimensions of the
+underlying room. Examples of such subterranean kivas may be seen in the
+foreground of the general view of a court in Oraibi
+(Pl. <span class="smallroman">XXXVIII</span>), and
+in the view of the dance rock at Walpi (<a href="#plateXXIV">Pl. <span
+class="smallroman">XXIV</span></a>). But such wholly subterranean
+arrangement of the ceremonial chamber is by no means universal even at
+Tusayan. Even when the kiva was placed within the village courts or
+close to the houses, in conformity to the traditional plan and ancient
+practice as evidenced in the ruins, naturally depressed sites were still
+sought; but such sites as the mesa margin affords were rarely available
+at any distance from the rocky rim. The result is that most of the court
+kivas are only partly depressed. This is particularly noticeable in a
+court kiva in Shumopavi, an illustration of which is given in <a href="#fig14">Fig.&nbsp;14</a>.</p>
+
+<p class="illustration">
+<a name="plateLXXXVIII" id="plateLXXXVIII"> </a>
+<img src="images/plate88.png" width="461" height="277"
+alt="Shumopavi kivas"
+title="Shumopavi kivas" /></p>
+<p class="caption smallcaps">
+Plate LXXXVIII. North kivas of Shumopavi, from the northeast.</p>
+
+<p>The mungkiva or principal kiva of Shupaulovi, illustrated in <a href="#plateXXXIII">Pl. <span class="smallroman">XXXIII</span></a>, is
+scarcely a foot above the ground level on the side towards the houses,
+but its rough walls are exposed to a height of several feet down on the
+declivity of the knoll. The view of the stone corrals of Mashongnavi,
+shown in <a href="#plateCIX">Pl. <span class="smallroman">CIX</span></a>, also illustrates a kiva of the type
+described. This chamber is constructed on a sharp slope of the declivity
+where a natural depression favored the builders. On the upper side the
+roof is even with the ground, but on its outer or southern side the
+masonry is exposed to nearly the whole depth of the chamber. At the
+north end of Shumopavi, just outside the houses, are two kivas, one of
+which is of the semi-subterranean type. The other shows scarcely any
+masonry above the ground outside of the box-like entrance way.
+Pl. <span class="smallroman">LXXXVIII</span>
+illustrates these two kivas as seen from the northeast, and shows their
+relation to the adjacent houses. The following (Fig.&nbsp;21)
+illustrates the same group from the opposite point of view.</p>
+
+<p class="illustration">
+<a name="fig21" id="fig21"> </a>
+<img src="images/fig21.png" width="432" height="248"
+alt="Shumopavi kivas"
+title="Shumopavi kivas" /></p>
+<p class="caption"><span class="smallcaps">Fig. 21.</span>
+North kivas of Shumopavi, seen from the southwest.</p>
+
+<p><a name="chapIV_3_1_5" id="chapIV_3_1_5"><i>Access.</i></a>&mdash;The last described
+semi-subterranean kiva and the similar one in the court of the village,
+show a short flight of stone steps on their eastern side. Entrance to
+the ceremonial chamber is prevented when necessary by the removal of the
+ladder from the outside, or in some instances by the withdrawal of the
+rungs, which are loosely inserted into holes in the side pieces. There
+is no means of preventing access to the exposed trap doors, which are
+nearly on a level with the ground. As a matter of convenience and to
+facilitate the entrance into
+<a name="page114" id="page114"> </a>
+the kiva of costumed and masked dancers, often encumbered with clumsy
+paraphernalia, steps are permanently built into the outside wall of the
+kiva in direct contradiction to the ancient principles of construction;
+that is, in having no permanent or fixed means of access from the ground
+to the first roof. These are the only cases in which stone steps spring
+directly from the ground, although they are a very important feature in
+Tusayan house architecture above the first story, as may be seen in any
+of the general views of the villages. The justification of such an
+arrangement in connection with the indefensible kiva roof lies obviously
+in the different conditions here found as compared with the
+dwellings.</p>
+
+<p>The subterranean kiva of the Shumopavi group, above illustrated, is
+exceptional as occurring at some distance from the mesa rim. Probably
+all such exceptions to the rule are located in natural fissures or
+crevices of the sandstone, or where there was some unusual facility for
+the excavation of the site to the required depth. The most noteworthy
+example of such inner kiva being located with reference to favorable
+rock fissures has been already described in discussing the ground plan
+of Walpi and its southern court-inclosed kiva (<a href="#page065">p.&nbsp;65</a>).</p>
+
+<p><a name="chapIV_3_1_6" id="chapIV_3_1_6"><i>Masonry.</i></a>&mdash;The exterior masonry of these
+chambers seems in all cases to be of ruder construction than that of the
+dwelling houses. This is particularly noticeable in the kivas of Walpi
+on the mesa edge, but is apparent even in some of the Zuñi examples. One
+of the kivas of house No.&nbsp;1 in Zuñi, near the churchyard, has small
+openings in its wall that are rudely framed with stone slabs set in a
+stone wall of exceptional roughness. Apparently there has never been any
+attempt to smooth or reduce this wall to a finished surface with the
+usual coating of adobe mud.</p>
+
+<p>
+<a name="page115" id="page115"> </a>
+In Tusayan also some of the kiva walls look as though they had been
+built of the first material that came to hand, piled up nearly dry, and
+with no attempt at the chinking of joints, that imparts some degree of
+finish to the dwelling-house masonry. The inside of these kivas,
+however, is usually plastered smoothly, but the interior plastering is
+applied on a base of masonry even in the case of the kivas that are
+wholly subterranean. It seems to be the Tusayan practice to line all
+sides of the kivas with stone masonry, regardless of the completeness
+and fitness of the natural cavity. It is impossible, therefore, to
+ascertain from the interior of a kiva how much of the work of excavation
+is artificial and how much has been done by nature. The lining of
+masonry probably holds the plastering of adobe mud much better than the
+naked surface of the rock, but the Tusayan builders would hardly resort
+to so laborious a device to gain this small advantage. The explanation
+of this apparent waste of labor lies in the fact that kivas had been
+built of masonry from time immemorial, and that the changed conditions
+of the present Tusayan environment have not exerted their influence for
+a sufficient length of time to overcome the traditional practice. As
+will be seen later, the building of a kiva is accompanied by certain
+rites and ceremonies based on the use of masonry walls, additional
+testimony of the comparatively recent date of the present subterranean
+types.</p>
+
+<p><a name="chapIV_3_1_7" id="chapIV_3_1_7"><i>Orientation.</i></a>&mdash;In questioning the Tusayan
+on this subject Mr. Stephen was told that no attention to the cardinal
+points was observed in the plan, although the walls are spoken of
+according to the direction to which they most closely approximate. An
+examination of the village plans of the preceding chapters, however,
+will show a remarkable degree of uniformity in the directions of kivas
+which can scarcely be due to accident in rooms built on such widely
+differing sites. The intention seems to have been to arrange these
+ceremonial chambers approximately on the north and south line, though
+none of the examples approach the meridian very closely. Most of them
+face southeast, though some, particularly in Walpi, face west of south.
+In Walpi four of the five kivas are planned on a southwest and northeast
+line, following the general direction of the mesa edge, while the
+remaining one faces southeast. The difference in this last case may have
+been brought about by exigencies of the site on the mesa edge and the
+form of the cavity in which the kiva was built. Again at Hano and
+Sichumovi (Pls. <a href="#plateXVI"><span class="smallroman">XVI</span></a> and <a href="#plateXVIII"><span class="smallroman">XVIII</span></a>) on the first mesa this uniformity of
+direction prevails, but, as the plans show, the kivas in these two
+villages are few in number. The two kivas of Shupaulovi will be seen (<a
+href="#plateXXX">Pl. <span class="smallroman">XXX</span></a>) to
+have the same direction, viz, facing southeast. In Shumopavi (<a href="#plateXXXIV">Pl. <span class="smallroman">XXXIV</span></a>) there are
+four kivas all facing southeast. In Mashongnavi, however (<a href="#plateXXVI">Pl. <span class="smallroman">XXVI</span></a>), the same
+uniformity does not prevail. Three of the kivas face south of east, and
+two others built in the edge of the rocky bench on the south side of the
+village face west of south. In the large village
+<a name="page116" id="page116"> </a>
+of Oraibi there is remarkable uniformity in the direction of the many
+kivas, there being a variation of only a few degrees in direction in the
+whole number of thirteen shown on the plan (<a href="#plateXXXVI">Pl.
+<span class="smallroman">XXXVI</span></a>). But in the case of the
+large kiva partly above ground designated as the Coyote kiva, the
+direction from which it is entered is the reverse of that of the other
+kivas. No explanation is offered that will account for this curious
+single exception to the rule. The intention of the builders has
+evidently been to make the altar and its attendant structural features
+conform to a definite direction, fixed, perhaps, by certain requirements
+of the ceremonial, but the irregularity of the general village plan in
+many cases resulting from its adaptation to restricted sites, has given
+rise to the variations that are seen.</p>
+
+<p>In Zuñi there was an evident purpose to preserve a certain uniformity
+of direction in the kiva entrances. In house No.&nbsp;1 (Pls. <a href="#plateLXXVI"><span class="smallroman">LXXVI</span></a> and <a href="#plateLXXVII"><span class="smallroman">LXXVII</span></a>) there are
+two kivas, distinguishable on the plan by the large divided trap door.
+The entrance of these both face southeast, and it can readily be seen
+that this conformity has been provided intentionally, since the rooms
+themselves do not correspond in arrangement. The roof opening is in one
+case across the room and in the other it is placed longitudinally. As
+has been pointed out above, the general plan of arranging the kivas is
+not so readily distinguished in Zuñi as in Tusayan. Uniformity, so far
+as it is traceable, is all the more striking as occurring where there is
+so much more variation in the directions of the walls of the houses.
+Still another confirmation is furnished by the pueblo of Acoma, situated
+about 60 miles eastward from Zuñi. Here the kivas are six in number and
+the directions of all the examples are found to vary but a few degrees.
+These also face east of south.</p>
+
+<p>There are reasons for believing that the use of rectangular kivas is
+of later origin in the pueblo system of building than the use of the
+circular form of ceremonial chamber that is of such frequent occurrence
+among the older ruins. Had strict orientation of the rectangular kiva
+prevailed for long periods of time it would undoubtedly have exerted a
+strong influence towards the orientation of the entire pueblo clusters
+in which the kivas were incorporated; but in the earlier circular form,
+the constructional ceremonial devices could occupy definite positions in
+relation to the cardinal points at any part of the inner curve of the
+wall without necessarily exerting any influence on the directions of
+adjoining dwellings.</p>
+
+<p><a name="chapIV_3_1_8" id="chapIV_3_1_8"><i>The ancient form of
+kiva.</i></a>&mdash;In none of the ruins examined in the province of
+Tusayan have distinct traces of ancient kivas been found, nor do any of
+them afford evidence as to the character of the ceremonial rooms. It is
+not likely, however, that the present custom of building these chambers
+wholly under ground prevailed generally among the earlier Tusayan
+villages, as some of the remains do not occupy sites that would suggest
+such arrangement. The typical circular kiva characteristic
+<a name="page117" id="page117"> </a>
+of most of the ancient pueblos has not been seen within the limits of
+Tusayan, although it occurs constantly in the ruins of Canyon de Chelly
+which are occasionally referred to in Tusayan tradition as having been
+occupied by related peoples. Mr. Stephen, however, found vestiges of
+such ancient forms among the debris of fallen walls occupying two small
+knolls on the edge of the first mesa, at a point that overlooks the
+broken-down ruin of Sikyatki. On the southeast shoulder of one of the
+knolls is a fragment of a circular wall which was originally 12 feet in
+diameter. It is built of flat stones, from 2 to 4 inches thick, 6&nbsp;to 8
+inches wide, and a foot or more in length, nearly all of which have been
+pecked and dressed. Mud mortar has been sparingly used, and the masonry
+shows considerable care and skill in execution; the curve of the wall is
+fairly true, and the interstices of the masonry are neatly filled in
+with smaller fragments, in the manner of some of the best work of the
+Canyon de Chelly ruins.</p>
+
+<p>The knoll farther south shows similar traces, and on the southeast
+slope is the complete ground plan of a round structure 16½ feet in
+diameter. At one point of the curved wall, which is about 22 inches
+thick, occurs the characteristic recessed katchinkihu (described later
+in discussing the interior of kivas) indicating the use of this chamber
+for ceremonial purposes.</p>
+
+<p>Although these remains probably antedate any of the Tusayan ruins
+discussed above (Chapter <span class="smallroman">II</span>), they
+suggest a connection and relationship between the typical kiva of the
+older ruins and the radically different form in use at the present
+time.</p>
+
+<p><a name="chapIV_3_1_9" id="chapIV_3_1_9"><i>Native explanations
+of position.</i></a>&mdash;Notwithstanding the present practice in the
+location of kivas, illustrated in the plans, the ideal village plan is
+still acknowledged to have had its house-clusters so distributed as to
+form inclosed and protected courts, the kivas being located within these
+courts or occupying marginal positions in the house-clusters on the edge
+of the inclosed areas. But the native explanations of the traditional
+plan are vague and contradictory.</p>
+
+<p>In the floor of the typical kiva is a sacred cavity called the
+sipapuh, through which comes the beneficent influence of the deities or
+powers invoked. According to the accounts of some of the old men the
+kiva was constructed to inclose this sacred object, and houses were
+built on every side to surround the kiva and form its outer wall. In
+earlier times, too, so the priests relate, people were more devout, and
+the houses were planned with their terraces fronting upon the court, so
+that the women and children and all the people, could be close to the
+masked dancers (katchinas) as they issued from the kiva. The spectators
+filled the terraces, and sitting there they watched the katchinas dance
+in the court, and the women sprinkled meal upon them, while they
+listened to their songs. Other old men say the kiva was excavated in
+imitation of the original house in the interior of the earth, where the
+human family were created, and from which they climbed to the surface of
+the ground
+<a name="page118" id="page118"> </a>
+by means of a ladder, and through just such an opening as the hatchway
+of the kiva. Another explanation commonly offered is that they are made
+underground because they are thus cooler in summer, and more easily
+warmed in winter.</p>
+
+<p>All these factors may have had some influence in the design, but we
+have already seen that excavation to the extent here practiced is wholly
+exceptional in pueblo building and the unusual development of this
+requirement of kiva construction has been due to purely local causes. In
+the habitual practice of such an ancient and traditional device, the
+Indians have lost all record of the real causes of the perpetuation of
+this requirement. At Zuñi, too, a&nbsp;curious explanation is offered for the
+partial depression of the kiva floor below the general surrounding
+level. Here it is naively explained that the floor is excavated in order
+to attain a liberal height for the ceiling within the kiva, this being a
+room of great importance. Apparently it does not occur to the Zuñi
+architect that the result could be achieved in a more direct and much
+less laborious manner by making the walls a foot or so higher at the
+time of building the kiva, after the manner in which the same problem is
+solved when it is encountered in their ordinary dwelling house
+construction. Such explanations, of course, originated long after the
+practice became established.</p>
+
+<h6><a name="chapIV_3_2" id="chapIV_3_2">
+METHODS OF KIVA BUILDING AND RITES.</a></h6>
+
+<p>The external appearance of the kivas of Tusayan has been described
+and illustrated; it now remains to examine the general form and method
+of construction of these subterranean rooms, and to notice the attendant
+rites and ceremonies.</p>
+
+<p><a name="chapIV_3_2_1" id="chapIV_3_2_1"><i>Typical
+plans.</i></a>&mdash;All the Tusayan kivas
+are in the form of a <ins class="correction" title="text reads ‘paralellogram’">parallelogram</ins>, usually about 25 feet
+long and half as wide, the ceiling, which is from 5½ to 8 feet high,
+being slightly higher in the middle than at either end. There is no
+prescribed rule for kiva dimensions, and seemingly the size of the
+chamber is determined according to the number who are to use it, and who
+assume the labor of its construction. A&nbsp;list of typical measurements
+obtained by Mr. Stephen is appended (<a href="#page136">p.&nbsp;136</a>).</p>
+
+<p>An excavation of the desired dimensions having been made, or an
+existing one having been discovered, the person who is to be chief of
+the kiva performs the same ceremony as that prescribed for the male head
+of a family when the building of a dwelling house is undertaken. He
+takes a handful of meal, mixed with piki crumbs, and a little of the
+crumbled herb they use as tobacco, and these he sprinkles upon the
+ground, beginning on the west side, passing southward, and so around,
+the sprinkled line he describes marking the position to be occupied by
+the walls. As he thus marks the compass of the kiva, he sings in a
+droning tone “Si-ai, a-hai, a-hai, si-ai, a-hai”&mdash;no other words
+but these. The meaning of these words seems to be unknown, but all the
+priests agree in saying that the archaic chant is addressed to the sun,
+and it
+<a name="page119" id="page119"> </a>
+is called Kitdauwi&mdash;the House Song. The chief then selects four
+good-sized stones of hard texture for corner stones, and at each corner
+he lays a baho, previously prepared, sprinkles it with the mixture with
+which he has described the line of the walls, and then lays the corner
+stone upon it. As he does this, he expresses his hope that the walls
+“will take good root hold,” and stand firm and secure.</p>
+
+<p>The men have already quarried or collected a sufficient quantity of
+stone, and a wall is built in tolerably regular courses along each side
+of the excavation. The stones used are roughly dressed by fracture; they
+are irregular in shape, and of a size convenient for one man to handle.
+They are laid with only a very little mud mortar, and carried up, if the
+ground be level, to within 18 inches of the surface. If the kiva is
+built on the edge of the cliff, as at Walpi, the outside wall connects
+the sides of the gap, conforming to the line of the cliff. If the
+surface is sloping, the level of the roof is obtained by building up one
+side of the kiva above the ground to the requisite height as illustrated
+in <a href="#fig21">Fig. 21</a>. One end of the “Goat” kiva at Walpi
+is 5&nbsp;feet above ground, the other end being level with the sloping
+surface. When the ledge on the precipitous face of the mesa is uneven it
+is filled in with rough masonry to obtain a level for the floor, and
+thus the outside wall of some of the Walpi kivas is more than 12 feet
+high, although in the interior the measurement from floor to ceiling is
+much less.</p>
+
+<p>Both cottonwood and pine are used for the roof timbers; they are
+roughly dressed, and some of them show that an attempt has been made to
+hew them with four sides, but none are square. In the roof of the “Goat”
+kiva, at Walpi, are four well hewn pine timbers, measuring exactly 6 by
+10 inches, which are said to have been taken from the mission house
+built near Walpi by the Spanish priests some three centuries ago. The
+ceiling plan of the mungkiva of Shupaulovi (<a href="#fig23">Fig.&nbsp;23</a>) shows that four of these old Spanish squared
+beams have been utilized in its construction. One of these is covered
+with a rude decoration of gouged grooves and bored holes, forming a
+curious line-and-dot ornament. The other kiva of this village contains a
+single undecorated square Spanish roof beam. This beam contrasts very
+noticeably with the rude round poles of the native work, one of which,
+in the case of the kiva last mentioned, is a forked trunk of a small
+tree. Some of the Indians say that the timbers were brought by them from
+the Shumopavi spring, where the early Spanish priests had established a
+mission. According to these accounts, the home mission was established
+at Walpi, with another chapel at Shumopavi, and a third and important
+one at Awatubi.</p>
+
+<p>One man, Sikapiki by name, stated that the squared and carved beams
+were brought from the San Francisco Mountains, more than a hundred miles
+away, under the direction of the priests, and that they were carved and
+finished prior to transportation. They were intended for the chapel and
+cloister, but the latter building was never finished.
+<a name="page120" id="page120"> </a>
+The roof timbers were finally distributed among the people of Shumopavi
+and Shupaulovi. At Shumopavi one of the kivas, known, as the
+Nuvwatikyuobi (The-high-place-of-snow&mdash;San Francisco Mountains)
+kiva, was built only 8&nbsp;years ago. The main roof timbers are seven in
+number. Four of them are hewn with flat sides, 8&nbsp;by 12 inches to 9 by 13
+inches; the other three are round, the under sides slightly hewn, and
+they are 12 inches in diameter. These timbers were brought from the San
+Francisco Mountains while the Spaniards were here. The Shumopavi account
+states that the people were compelled to drag most of the timbers with
+ropes, although oxen were also used in some cases, and that the
+Spaniards used them to roof their mission buildings. After the
+destruction of the mission these timbers were used in the construction
+of a dwelling house, which, falling into ruin, was abandoned and pulled
+down. Subsequently they were utilized as described above. In the
+Teosobi, Jay, the main timbers were taken out of it many years ago and
+used in another kiva. The timbers now in the roof are quite small and
+are laid in pairs, but they are old and much decayed. In the Gyarzobi,
+Paroquet, are six squared timbers from the Spanish mission buildings,
+measuring 9 by 13 inches, 8&nbsp;by 12 inches, etc. These have the same
+curious grooved and dotted ornamentation that occurs on the square beam
+of Shupaulovi, above described. At the other end of the kiva are also
+two unusually perfect round timbers that may have come from the mission
+ruin. All of these show marks of fire, and are in places deeply
+charred.</p>
+
+<p>In continuation of the kiva building process, the tops of the walls
+are brought to an approximate level. The main roof timbers are then laid
+parallel with the end walls, at irregular distances, but less than
+3&nbsp;feet apart, except near the middle,
+where a space of about 7&nbsp;feet is
+left between two beams, as there the hatchway is to be built. The ends
+of the timbers rest upon the side walls, and as they are placed in
+position a small feather, to which a bit of cotton string is tied
+(nakwakwoci) is also placed under each. Stout poles, from which the bark
+has been stripped, are laid at right angles upon the timbers, with
+slight spaces between them. Near the center of the kiva two short
+timbers are laid across the two main beams about 5&nbsp;feet apart; this is
+done to preserve a space of 5 by 7 feet for the hatchway, which is made
+with walls of stone laid in mud plaster, resting upon the two central
+beams and upon the two side pieces. This wall or combing is carried up
+so as to be at least 18 inches above the level of the finished roof.
+Across the poles, covering the rest of the roof, willows and straight
+twigs of any kind are laid close together, and over these is placed a
+layer of dry grass arranged in regular rows. Mud is then carefully
+spread over the grass to a depth of about 3&nbsp;inches, and after it has
+nearly dried it is again gone over so as to fill up all the cracks.
+A&nbsp;layer of dry earth is then spread over all and firmly trodden down, to
+render the roof water-tight and bring its surface level with the
+surrounding ground, following the same method and order of construction
+that prevails in dwelling-house buildings.</p>
+
+<p>
+<a name="page121" id="page121"> </a>
+Short timbers are placed across the top of the hatchway wall, one end of
+which is raised higher than the other, so as to form a slope, and upon
+these timbers stone slabs are closely laid for a cover. (See <a href="#plateLXXXVII">Pl. <span class="smallroman">LXXXVII</span></a>.) An
+open space, usually about 2 by 4½ feet, is preserved, and this is the
+only outlet in the structure, serving at once as doorway, window, and
+chimney.</p>
+
+<p>The roof being finished, a&nbsp;floor of stone flags is laid; but this is
+never in a continuous level, for at one end it is raised as a platform
+some 10 or 12 inches high, extending for about a third of the length of
+the kiva and terminating in an abrupt step just before coming under the
+hatchway, as illustrated in the ground plan of the mungkiva of
+Shupaulovi (Fig. 22, and also in Figs. <a href="#fig25">25</a> and <a href="#fig27">27</a>). On the edge of the
+platform rests the foot of a long ladder, which leans against the higher
+side of the hatchway, and its tapering ends project 10 or 12 feet in the
+air. Upon this platform the women and other visitors sit when admitted
+to witness any of the ceremonies observed in the kiva. The main floor in
+a few of the kivas is composed of roughly hewn planks, but this is a
+comparatively recent innovation, and is not generally deemed desirable,
+as the movement of the dancers on the wooden floor shakes the fetiches
+out of position.</p>
+
+<p class="illustration">
+<a name="fig22" id="fig22"> </a>
+<img src="images/fig22.png" width="434" height="272"
+alt="plan of Shupaulovi kiva"
+title="plan of Shupaulovi kiva" /></p>
+<p class="caption"><span class="smallcaps">Fig. 22.</span>
+Ground plan of the chief kiva of Shupaulovi.</p>
+
+<p>On the lower or main floor a shallow pit of varying dimensions, but
+usually about a foot square, is made for a fireplace, and is located
+immediately under the opening in the hatchway. The intention in raising
+the hatchway above the level of the roof and in elevating the ceiling in
+the middle is to prevent the fire from igniting them. The ordinary fuel
+used in the kiva is greasewood, and there are always several bundles of
+the shrub in its green state suspended on pegs driven in the wall of the
+hatchway directly over the fire. This shrub, when green, smolders and
+emits a dense, pungent smoke, but when perfectly dry, burns with a
+bright, sparkling flame.</p>
+
+<p>Across the end of the kiva on the main floor a ledge of masonry is
+built, usually about 2&nbsp;feet high and 1&nbsp;foot wide, which serves as a
+shelf for the display of fetiches and other paraphernalia during stated
+observances (see <a href="#fig22">Fig. 22</a>). A&nbsp;small, niche-like
+aperture is made in the middle of this ledge, and is called the katchin
+kihu (katchina house). During a festival certain masks are placed in it
+when not in use by the dancers. Some of the kivas have low ledges built
+along one or both sides for use as seats, and some have none, but all
+except two or three have the ledge at the end containing the katchina
+house.</p>
+
+<p>In the main floor of the kiva there is a cavity about a foot deep and
+8 or 10 inches across, which is usually covered with a short, thick slab
+of cottonwood, whose upper surface is level with the floor. Through the
+middle of this short plank and immediately over the cavity a hole of 2
+or 2½ inches in diameter is bored. This hole is tapered, and is
+accurately fitted with a movable wooden plug, the top of which is flush
+with the surface of the plank. The plank and cavity usually occupy a
+position
+<a name="page122" id="page122"> </a>
+in the main floor near the end of the kiva. This feature is the sipapuh,
+the place of the gods, and the most sacred portion of the ceremonial
+chamber. Around this spot the fetiches are set during a festival; it
+typifies also the first world of the Tusayan genesis and the opening
+through which the people first emerged. It is frequently so spoken of at
+the present time.</p>
+
+<p>Other little apertures or niches are constructed in the side walls;
+they usually open over the main floor of the kiva near the edge of the
+dais that forms the second level, that upon which the foot of the ladder
+rests. These are now dedicated to any special purpose, but are used as
+receptacles for small tools and other ordinary articles. In early days,
+however, these niches were used exclusively as receptacles for the
+sacred pipes and tobacco and other smaller paraphernalia.</p>
+
+<p class="illustration">
+<a name="fig23" id="fig23"> </a>
+<img src="images/fig23.jpg" width="266" height="136"
+alt="ceiling plan of Shupaulovi kiva"
+title="ceiling plan of Shupaulovi kiva" /></p>
+<p class="caption"><span class="smallcaps">Fig. 23.</span>
+Ceiling plan of the chief kiva of Shupaulovi.</p>
+
+<p>In order to make clearer the relative positions of the various
+features of kiva construction that have been described several typical
+examples are here illustrated. The three ground plans given are drawn to
+scale and represent kivas of average dimensions. Mr. Stephen has made a
+series of typical kiva measurements, which is appended to this section,
+and comparison of these with the plans will show the relation of the
+examples selected to the usual dimensions of these rooms. <a href="#fig22">Fig. 22</a> is the ground plan of the mungkiva, or chief kiva,
+of Shupaulovi. It will be observed that the second level of the kiva
+floor, forming the <ins class="correction"
+title="text reads ‘dias’">dais</ins> before referred to,
+is about 15 inches narrower on
+each side than the main floor. The narrowing of this portion of the kiva
+floor is not universal and does not seem to be regulated by any rule.
+Sometimes the narrowing is carried out on one side only, as in the
+mungkiva of Mashongnavi (<a href="#fig27">Fig.&nbsp;27</a>), sometimes
+on both, as in the present example,
+<a name="page123" id="page123"> </a>
+and in other cases it is absent. In the second kiva of Shupaulovi,
+illustrated in <a href="#fig25">Fig. 25</a>, there is only one small
+jog that has been built midway along the wall of the upper level and it
+bears no relation to the point at which the change of floor level
+occurs. The ledge, or <ins class="correction"
+title="text reads ‘dias’">dais</ins>,
+is free for the use of spectators, the Indians say,
+just as the women stand on the house terraces to witness a dance, and do
+not step into the court. The ledge in this case is about a foot above
+the main floor. Benches of masonry are built along each side, though, as
+the plan shows, they are not of the same length. The bench on the
+eastern side is about 4&nbsp;feet shorter than the other, which is cut off by
+a continuation of the high bench that contains the katchinkihu beyond
+the corner of the room. These side benches are for the use of
+participants in the ceremonies. When young men are initiated into the
+various societies during the feasts in the fall of the year they occupy
+the floor of the sacred division of the kiva, while the old members of
+the order occupy the benches along the wall. The higher bench at the end
+of the room is used as a shelf for paraphernalia. The hole, or recess,
+in this bench, whose position is indicated by the dotted lines on the
+plan, is the sacred orifice from which the katchina is said to come, and
+is called the katchinkihu. In the floor of the kiva, near the
+katchinkihu, is the sipapuh, the cottonwood plug set into a cottonwood
+slab over a cavity in the floor. The plan shows how this plank, about 18
+inches wide and 6½ feet long, has been incorporated into the paving of
+the main floor. The paving is composed of some quite large slabs of
+sandstone whose irregular edges have been skillfully fitted to form a
+smooth and well finished pavement. The position of the niches that form
+pipe receptacles is shown on the plan opposite the fireplace in each
+side wall. The position of the foot of the ladder is indicated, the side
+poles resting upon the paved surface of the second level about 15 inches
+from the edge of the step. <a href="#fig23">Fig.&nbsp;23</a> gives a
+ceiling plan of the same kiva, illustrating the arrangement
+<a name="page124" id="page124"> </a>
+of such of the roof beams and sticks as are visible from inside. The
+plan shows the position of the four Spanish beams before referred to,
+the northernmost being the one that has the line and dot decoration. The
+next two beams, laid in contact, are also square and of Spanish make.
+The fourth Spanish beam is on the northern edge of the hatchway dome and
+supports its wall. The adjoining beam is round and of native
+workmanship. The position and dimensions of the large hatchway
+projection are here indicated in plan, but the general appearance of
+this curious feature of the Tusayan kiva can be better seen from the
+interior view (Fig.&nbsp;24). Various uses are
+attributed to this domelike structure, aside from the explanation that
+it is built at a greater height in order to lessen the danger of
+ignition of the roof beams. The old men say that formerly they smoked
+and preserved meat in it. Others say it was used for drying bundles of
+wood by suspension over the fire preparatory to use in the fireplace. It
+is also said to constitute an upper chamber to facilitate the egress of
+smoke, and doubtless it aids in the performance of this good office.</p>
+
+<p class="illustration">
+<a name="fig24" id="fig24"> </a>
+<img src="images/fig24.jpg" width="268" height="223"
+alt="Tusayan kiva"
+title="Tusayan kiva" /></p>
+<p class="caption"><span class="smallcaps">Fig. 24.</span>
+Interior view of a Tusayan kiva.</p>
+
+<p>The mud plaster that has been applied directly to the stone work of
+the interior of this kiva is very much blackened by smoke. From about
+half of the wall space the plaster has fallen or scaled off, and the
+exposed
+<a name="page125" id="page125"> </a>
+stonework is much blackened as though the kiva had long been used with
+the wall in this uncovered condition.</p>
+
+<p>The fireplace is simply a shallow pit about 18 inches square that is
+placed directly under the opening of the combined hatchway and smoke
+hole. It is usually situated from 2 to 3 feet from the edge of the
+second level of the kiva floor. The paving stones are usually finished
+quite neatly and smoothly where their edges enframe the firepit.</p>
+
+<p class="illustration">
+<a name="fig25" id="fig25"> </a>
+<img src="images/fig25.png" width="431" height="238"
+alt="Shupaulovi kiva"
+title="Shupaulovi kiva" /></p>
+<p class="caption"><span class="smallcaps">Fig. 25.</span>
+Ground plan of a Shupaulovi kiva.</p>
+
+<p>Figs. 25 and 26
+illustrate the ground and ceiling plans of the second kiva of the same
+village. In all essential principles of arrangement it is identical with
+the preceding example, but minor modifications will be noticed in
+several of the features. The bench at the katchina, or “altar” end of
+the kiva, has not the height that was seen in the mungkiva, but is on
+the same level as the benches of the sides. Here the
+<a name="page126" id="page126"> </a>
+sipapuh is at much greater distance than usual from the katchina recess.
+It is also quite exceptional in that the plug is let into an orifice in
+one of the paving stones, as shown on the plan, instead of into a
+cottonwood plank. Some of the paving stones forming the floor of this
+kiva are quite regular in shape and of unusual dimensions, one of them
+being nearly 5&nbsp;feet long and 2&nbsp;feet wide. The gray polish of long
+continued use imparts to these stones an appearance of great hardness.
+The ceiling plan of this kiva (Fig.&nbsp;26)
+shows a single specimen of Spanish beam at the extreme north end of the
+roof. It also shows a forked “viga” or ceiling beam, which is quite
+unusual.</p>
+
+<p class="illustration">
+<a name="fig26" id="fig26"> </a>
+<img src="images/fig26.jpg" width="268" height="130"
+alt="ceiling plan of Shupaulovi kiva"
+title="ceiling plan of Shupaulovi kiva" /></p>
+<p class="caption"><span class="smallcaps">Fig. 26.</span>
+Ceiling plan of a Shupaulovi kiva.</p>
+
+<p>This kiva is better plastered than the mungkiva and shows in places
+evidences of many successive coats. The general rule of applying the
+interior plastering of the kiva on a base of masonry has been violated
+in this example. The north end and part of the adjoining sides have been
+brought to an even face by filling in the inequalities of the excavation
+with reeds which are applied in a vertical position and are held in
+place by long, slender, horizontal rods, forming a rude matting or
+wattling. The rods are fastened to the rocky wall at favorable points by
+means of small prongs of some hard wood, and the whole of the primitive
+lathing is then thickly plastered with adobe mud. Mr. Stephen found the
+Ponobi kiva of Oraibi treated in the same manner. The walls are lined
+with a reed lathing over which mud is plastered. The reed used is the
+Bakabi (<i>Phragmites communis</i>) whose stalks vary from a quarter of
+an inch to three-quarters of an inch in diameter. In this instance the
+reeds are also laid vertically, but they are applied to the ordinary
+mud-laid kiva wall and not directly to the sides of the natural
+excavation. The vertical laths are bound in place by horizontal reeds
+laid upon them 1&nbsp;or 2 feet apart. The horizontal reeds
+<a name="page127" id="page127"> </a>
+are held in place by pegs of greasewood driven into the wall at
+intervals of 1&nbsp;or 2 feet and are tied to the pegs with split yucca.
+These specimens are very interesting examples of aboriginal lathing and
+plastering applied to stone work.</p>
+
+<p class="illustration">
+<a name="fig27" id="fig27"> </a>
+<img src="images/fig27.png" width="418" height="273"
+alt="plan of Mashongnavi kiva"
+title="plan of Mashongnavi kiva" /></p>
+<p class="caption"><span class="smallcaps">Fig. 27.</span>
+Ground plan of the chief kiva of Mashongnavi.</p>
+
+<p>The ground plan of the mungkiva of Mashongnavi is illustrated in
+Fig. 27. In this example the narrowing of the room
+at the second level of the floor is on one side. The step by which the
+upper level is reached from the main floor is 8&nbsp;inches high at the east
+end, rising to 10 inches at the west end. The south end of the kiva is
+provided with a small opening like a loop-hole, furnishing an outlook to
+the south. The east side of the main portion of the kiva is not provided
+with the usual bench. The portion of the bench at the katchina end of
+the kiva is on a level with the west bench and continuous for a couple
+of feet beyond the northeast corner along the east wall. The small wall
+niches are on the west side and nearer the north end than usual. The
+arrangement of the katchinkihu is quite different from that described in
+the Shupaulovi kivas. The orifice occurs in the north wall at a height
+of 3½ feet above the floor, and 2&nbsp;feet 3&nbsp;inches above the top of the
+bench that extends across this end of the room. The firepit is somewhat
+smaller than in the other examples illustrated. Fig.
+28 illustrates the appearance of the kiva hatchway from within as
+seen from the north end of the kiva, but the ladder has been omitted
+from the drawing to avoid confusion. The ladder rests against the edge
+of the coping that caps the dwarf wall on the near side of the hatchway,
+its top leaning toward the spectator. The small smoke-blackened sticks
+that are used for the suspension of bundles of greasewood and other fuel
+in the hatchway are clearly shown. At the far end of the trapdoor, on
+the outside, is indicated the mat of reeds or rushes that is used for
+closing the openings when necessary. It is here shown rolled up at the
+foot of the slope of the hatchway top, its customary position when not
+in use.
+<a name="page128" id="page128"> </a>
+When this mat is used for closing the kiva opening it is usually held in
+place by several large stone slabs laid over it. <a href="#fig29">Fig.
+29</a> illustrates a specimen of the Tusayan kiva mat.</p>
+
+<p class="illustration">
+<a name="fig28" id="fig28"> </a>
+<img src="images/fig28.png" width="421" height="234"
+alt="Tusayan kiva hatchway"
+title="Tusayan kiva hatchway" /></p>
+<p class="caption"><span class="smallcaps">Fig. 28.</span>
+Interior view of a kiva hatchway in Tusayan.</p>
+
+<p>The above kiva plans show that each of the illustrated examples is
+provided with four long narrow planks, set in the kiva floor close to
+the
+<a name="page129" id="page129"> </a>
+wall and provided with orifices for the attachment of looms. This
+feature is a common accompaniment of kiva construction and pertains to
+the use of the ceremonial room as a workshop by the male blanket weavers
+of Tusayan. It will be more fully described in the discussion of the
+various uses of the kiva.</p>
+
+<p class="illustration">
+<a name="fig29" id="fig29"> </a>
+<img src="images/fig29.jpg" width="265" height="372"
+alt="Tusayan mat"
+title="Tusayan mat" /></p>
+<p class="caption"><span class="smallcaps">Fig. 29.</span>
+Mat used in closing the entrance of Tusayan kiva.</p>
+
+<p>The essential structural features of the kivas above described are
+remarkably similar, though the illustrations of types have been selected
+at random. Minor modifications are seen in the positions of many of the
+features, but a certain general relation between the various
+constructional requirements of the ceremonial room is found to prevail
+throughout all the villages.</p>
+
+<p><a name="chapIV_3_2_2" id="chapIV_3_2_2"><i>Work by
+women.</i></a>&mdash;After all the above described details have been
+provided for, following the completion of the roofs and floors, the
+women belonging to the people who are to occupy the kiva continue the
+labor of its construction. They go over the interior surface of the
+walls, breaking off projections and filling up the interstices with
+small stones, and then they smoothly plaster the walls and the inside of
+the hatchway with mud, and sometimes whitewash them with a gypsiferous
+clay found in the neighborhood. Once every year, at the feast of Powuma
+(the fructifying moon), the women give the kiva this same attention.</p>
+
+<p><a name="chapIV_3_2_3" id="chapIV_3_2_3"><i>Consecration.</i></a>&mdash;When all the work is
+finished the kiva chief prepares a baho and “feeds the house,” as it is
+termed; that is, he thrusts a little meal, with piki crumbs, over one of
+the roof timbers, and in the same place inserts the end of the baho. As
+he does this he expresses his hope that the roof may never fall and that
+sickness and other evils may never enter the kiva.</p>
+
+<p>It is difficult to elicit intelligent explanation of the theory of
+the baho and the prayer ceremonies in either kiva or house construction.
+The baho is a prayer token; the petitioner is not satisfied by merely
+speaking or singing his prayer, he must have some tangible thing upon
+which to transmit it. He regards his prayer as a mysterious, impalpable
+portion of his own substance, and hence he seeks to embody it in some
+object, which thus becomes consecrated. The baho, which is inserted in
+the roof of the kiva, is a piece of willow twig about six inches long,
+stripped of its bark and painted. From it hang four small feathers
+suspended by short cotton strings tied at equal distances along the
+twig. In order to obtain recognition from the powers especially
+addressed, different colored feathers and distinct methods of attaching
+them to bits of wood and string are resorted to. In the present case
+these are addressed to the “chiefs” who control the paths taken by the
+people after coming up from the interior of the earth. They are thus
+designated:</p>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td class="rightpad">To the west: Siky´ak</td>
+<td class="rightpad">oma´uwu</td>
+<td>Yellow Cloud.</td>
+</tr>
+<tr>
+<td><span class="invisible">To the </span>south: Sa´kwa</td>
+<td>oma´uwu</td>
+<td>Blue Cloud.</td>
+</tr>
+<tr>
+<td><span class="invisible">To the </span>east: Pal´a</td>
+<td>oma´uwu</td>
+<td>Red Cloud.</td>
+</tr>
+<tr>
+<td><span class="invisible">To the </span>north: Kwetsh</td>
+<td>oma´uwu</td>
+<td>White Cloud.</td>
+</tr>
+</table>
+
+<p>
+<a name="page130" id="page130"> </a>
+Two separate feathers are also attached to the roof. These are addressed
+to the zenith, héyap omáuwu&mdash;the invisible space of the
+above&mdash;and to the nadir, Myuingwa&mdash;god of the interior of the
+earth and maker of the germ of life. To the four first mentioned the
+bahos under the corner stones are also addressed. These feathers are
+prepared by the kiva chief in another kiva. He smokes devoutly over
+them, and as he exhales the smoke upon them he formulates the prayers to
+the chiefs or powers, who not only control the paths or lives of all the
+people, but also preside over the six regions of space whence come all
+the necessaries of life. The ancients also occupy his thoughts during
+these devotions; he desires that all the pleasures they enjoyed while
+here may come to his people, and he reciprocally wishes the ancients to
+partake of all the enjoyments of the living.</p>
+
+<p>All the labor and ceremonies being completed the women prepare food
+for a feast. Friends are invited, and the men dance all night in the
+kiva to the accompaniment of their own songs and the beating of a
+primitive drum, rejoicing over their new home. The kiva chief then
+proclaims the name by which the kiva will be known. This is often merely
+a term of his choosing, often without reference to its
+appropriateness.</p>
+
+<p><a name="chapIV_3_2_4" id="chapIV_3_2_4"><i>Various uses of
+kivas.</i></a>&mdash;Allusions occur in some of the traditions,
+suggesting that in earlier times one class of kiva was devoted wholly to
+the purposes of a ceremonial chamber, and was constantly occupied by a
+priest. An altar and fetiches were permanently maintained, and
+appropriate groups of these fetiches were displayed from month to month,
+as the different priests of the sacred feasts succeeded each other, each
+new moon bringing its prescribed feast.</p>
+
+<p>Many of the kivas were built by religious societies, which still hold
+their stated observances in them, and in Oraibi several still bear the
+names of the societies using them. A&nbsp;society always celebrates in a
+particular kiva, but none of these kivas are now preserved exclusively
+for religious purposes; they are all places of social resort for the
+men, especially during the winter, when they occupy themselves with the
+arts common among them. The same kiva thus serves as a temple during a
+sacred feast, at other times as a council house for the discussion of
+public affairs. It is also used as a workshop by the industrious and as
+a lounging place by the idle.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig30" id="fig30"> </a>
+<img src="images/fig30.png" width="149" height="147"
+alt="sipapuh in Mashongnavi"
+title="sipapuh in Mashongnavi" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 30.</span>
+Rectangular sipapuh<br/>
+in a Mashongnavi kiva.
+</td>
+</tr>
+</table>
+
+<p>There are still traces of two classes of kiva, marked by the
+distinction that only certain ones contain the sipapuh, and in these the
+more important ceremonies are held. It is said that no sipapuh has been
+made recently. The prescribed operation is performed by the chief and
+the assistant priests or fetich keepers of the society owning the kiva.
+Some say the mystic lore pertaining to its preparation is lost and none
+can now be made. It is also said that a stone sipapuh was formerly used
+instead of the cottonwood plank now commonly seen. The use of stone for
+this purpose, however, is nearly obsolete, though the second
+<a name="page131" id="page131"> </a>
+kiva of Shupaulovi, illustrated in plan in <a href="#fig25">Fig.
+25</a>, contains an example of this ancient form. In one of the newest
+kivas of Mashongnavi the plank of the sipapuh is pierced with a square
+hole, which is cut with a shoulder, the shoulder supporting the plug
+with which the orifice is closed (see Fig.&nbsp;30).
+This is a decided innovation on the traditional form, as the orifice
+from which the people emerged, which is symbolized in the sipapuh, is
+described as being of circular form in all the versions of the Tusayan
+genesis myth. The presence of the sipapuh possibly at one time
+distinguished such kivas as were considered strictly consecrated to
+religious observances from those that were of more general use. At
+Tusayan, at the present time, certain societies do not meet in the
+ordinary kiva but in an apartment of a dwelling house, each society
+having its own exclusive place of meeting. The house so used is called
+the house of the “Sister of the eldest brother,” meaning, probably, that
+she is the descendant of the founder of the society. This woman’s house
+is also called the “house of grandmother,” and in it is preserved the
+tiponi and other fetiches of the society. The tiponi is a ceremonial
+object about 18 inches long, consisting of feathers set upright around a
+small disk of silicified wood, which serves as its base when set upon
+the altar. This fetich is also called iso (grandmother), hence the name
+given to the house where it is kept. In the house, where the order of
+warriors (Kuleataka) meets, the eldest son of the woman who owns it is
+the chief of the order. The apartment in which they meet is a low room
+on the ground floor, and is entered only by a hatchway and ladder. There
+is no sipapuh in this chamber, for the warriors appeal directly to
+Cótukinungwa, the heart of the zenith, the sky god. Large figures of
+animal fetiches are painted in different colors upon the walls. On the
+west wall is the Mountain Lion; on the south, the Bear; on the east, the
+Wild Cat, surmounted with a shield inclosing a star; on the north, the
+White Wolf; and on the east side of this figure is painted a large disk,
+representing the sun. The walls of the chambers of the other societies
+are not decorated permanently. Here is, then, really another class of
+kiva, although it is not so called by the people on the Walpi mesa. The
+ordinary term for the ground story rooms is used, “kikoli,” the house
+without any opening in its walls. But on the second mesa, and at Oraibi,
+although they sometimes use this term kikoli, they commonly apply the
+term “kiva” to the ground story of the dwelling house used as well as to
+the underground chambers.</p>
+
+<p>It is probable that a class of kivas, not specially consecrated, has
+existed from a very early period. The rooms in the dwelling houses have
+always been small and dark, and in early times without chimneys.
+<a name="page132" id="page132"> </a>
+Within such cramped limits it was inconvenient for the men to practice
+any of the arts they knew, especially weaving, which could have been
+carried on out of doors, as is done still occasionally, but subject to
+many interruptions. It is possible that a class of kivas was designed
+for such ordinary purposes, though now one type of room seems to answer
+all these various uses. In most of the existing kivas there are planks,
+in which stout loops are secured, fixed in the floor close to the wall,
+for attaching the lower beam of a primitive vertical loom, and
+projecting vigas or beams are inserted into the walls at the time of
+their construction as a provision for the attachment of the upper loom
+poles. The planks or logs to which is attached the lower part of the
+loom appear in some cases to be quite carefully worked. They are often
+partly buried in the ground and under the edges of adjacent paving
+stones in such a manner as to be held in place very securely against the
+strain of the tightly stretched warp while the blanket is being made.
+<!---->
+<span class="floatleft caption">
+<a name="fig31" id="fig31"> </a>
+<img src="images/fig31.png" width="193" height="91"
+alt="Tusayan loom post"
+title="Tusayan loom post" /><br/>
+<br/>
+<span class="smallcaps">Fig. 31.</span>
+Loom post<br/>
+in kiva at Tusayan.</span>
+<!---->
+The holes pierced in the upper surface of these logs are very neatly
+executed in the manner illustrated in Fig. 31,
+which shows one of the orifices in section, together with the adjoining
+paving stones. The outward appearance of the device, as seen at short
+intervals along the length of the log, is also shown. Strips of buckskin
+or bits of rope are passed through these U-shaped cavities, and then
+over the lower pole of the loom at the bottom of the extended series of
+warp threads. The latter can thus be tightened preparatory to the
+operation of filling in with the woof. The kiva looms seem to be used
+mainly for weaving the dark-blue and black blankets of diagonal and
+diamond pattern, which form a staple article of trade with the Zuni and
+the Rio Grande Pueblos. As an additional convenience for the practice of
+weaving, one of the kivas of Mashongnavi is provided with movable seats.
+These consist simply of single stones of suitable size and form. Usually
+they are 8 or 10 inches thick, a&nbsp;foot wide, and perhaps 15 or 18 inches
+long. Besides their use as seats, these stones are used in connection
+with the edges of the stone slabs that cap the permanent benches of the
+kiva to support temporarily the upper and lower poles of the blanket
+loom while the warp is gradually wound around them. The large stones
+that are incorporated into the side of the benches of some of the
+Mashongnavi kivas have occasionally round, cup-shaped cavities, of about
+an inch in diameter, drilled into them. These holes receive one end of a
+warp stick, the other end, being supported in a corresponding hole of
+the heavy, movable stone seat. The other warp stick is supported in a
+similar manner, while the thread is passed around both in a horizontal
+direction preparatory to placing and stretching it in a vertical
+position for the final working of the blanket. A&nbsp;number of these
+cup-shaped
+<a name="page133" id="page133"> </a>
+pits are formed along the side of the stone bench, to provide for
+various lengths of warp that may be required. On the opposite side of
+this same kiva a number of similar holes or depressions are turned into
+the mud plastering of the wall. All these devices are of common
+occurrence at other of the Tusayan kivas, and indicate the antiquity of
+the practice of using the kivas for such industrial purposes. There is a
+suggestion of similar use of the ancient circular kivas in an example in
+Canyon de Chelly. At a small cluster of rooms, built partly on a rocky
+ledge and partly on adjoining loose earth and rocky debris, a&nbsp;land slide
+had carried away half of a circular kiva, exposing a well-defined
+section of its floor and the debris within the room. Here the writer
+found a number of partly finished sandals of yucca fiber, with the long,
+unwoven fiber carefully wrapped about the finished portion of the work,
+as though the sandals had been temporarily laid aside until the maker
+could again work on them. A&nbsp;number of coils of yucca fiber, similar to
+that used in the sandals, and several balls of brown fiber, formed from
+the inner bark of the cedar, were found on the floor of the room. The
+condition of the ruin and the debris that filled the kiva clearly
+suggested that these specimens were in use just where they were found at
+the time of the abandonment or destruction of the houses. No traces were
+seen, however, of any structural devices like those of Tusayan that
+would serve as aids to the weavers, though the weaving of the particular
+articles comprised in the collection from this spot would probably not
+require any cumbrous apparatus.</p>
+
+<p><a name="chapIV_3_2_5" id="chapIV_3_2_5"><i>Kiva
+ownership.</i></a>&mdash;The kiva is usually spoken of as being the home
+of the organization which maintains it. Different kivas are not used in
+common by all the inhabitants. Every man has a membership in some
+particular one and he frequents that one only. The same person is often
+a member of different societies, which takes him to different kivas, but
+that is only on set occasions. There is also much informal visiting
+among them, but a man presumes to make a loitering place only of the
+kiva in which he holds membership.</p>
+
+<p>In each kiva there is a kiva mungwi (kiva chief), and he controls to
+a great extent all matters pertaining to the kiva and its membership.
+This office or trust is hereditary and passes from uncle to nephew
+through the female line&mdash;that is, on the death of a kiva chief the
+eldest son of his eldest sister succeeds him.</p>
+
+<p>A kiva may belong either to a society, a&nbsp;group of gentes, or an
+individual. If belonging to a society or order, the kiva chief commonly
+has inherited his office in the manner indicated from the “eldest
+brother” of the society who assumed its construction. But the kiva chief
+is not necessarily chief of the society; in fact, usually he is but an
+ordinary member. A&nbsp;similar custom of inheritance prevails where the kiva
+belongs to a group of gentes, only in that case the kiva chief is
+usually chief of the gentile group.</p>
+
+<p>As for those held by individuals, a&nbsp;couple of examples will
+illustrate the Tusayan practice. In Hano the chief kiva was originally
+built
+<a name="page134" id="page134"> </a>
+by a group of “Sun” gentes, but about 45 years ago, during an epidemic
+of smallpox, all the people who belonged to the kiva died except one
+man. The room fell into ruin, its roof timbers were carried off, and it
+became filled up with dust and rubbish. The title to it, however, rested
+with the old survivor, as all the more direct heirs had died, and he,
+when about to die, gave the kiva to Kotshve, a&nbsp;“Snake” man from Walpi,
+who married a Tewa (Hano) woman and still lives in Hano. This man
+repaired it and renamed it Tokónabi (said to be a Pah-Ute term, meaning
+black mountain, but it is the only name the Tusayan have for Navajo
+Mountain) because his people (the “Snake”) came from that place. He in
+turn gave it to his eldest son, who is therefore kiva mungwi, but the
+son says his successor will be the eldest son of his eldest sister. The
+membership is composed of men from all the Hano gentes, but not all of
+any one gens. In fact, it is not now customary for all the members of a
+gens to be members of the same kiva.</p>
+
+<p>Another somewhat similar instance occurs in Sichumovi. A&nbsp;kiva,
+abandoned for a long time after the smallpox plague, was taken
+possession of by an individual, who repaired it and renamed it Kevinyáp
+tshómo&mdash;Oak Mound. He made his friends its members, but he called
+the kiva his own. He also says that his eldest sister’s son will succeed
+him as chief.</p>
+
+<p>In each village one of the kivas, usually the largest one, is called
+(aside from its own special name) mungkiva&mdash;chief kiva. It is
+frequented by the kimungwi&mdash;house or village chief&mdash;and the
+tshaakmungwi&mdash;chief talker, councillor&mdash;and in it also the
+more elaborate ceremonies are observed.</p>
+
+<p>No women frequent any of the kivas; in fact they never enter them
+except to plaster the walls at customary periods, or during the occasion
+of certain ceremonies. Yet one at least of the Oraibi kivas was built
+for the observances of a society of women, the Mamzrántiki. This and
+another female society&mdash;Lalénkobáki&mdash;exist in all the other
+villages, and on the occasion of their festivals the women are given the
+exclusive use of one of the kivas.</p>
+
+<p><a name="chapIV_3_2_6" id="chapIV_3_2_6"><i>Motives for building
+a kiva.</i></a>&mdash;Only two causes are mentioned for building a new
+kiva. Quarrels giving rise to serious dissensions among the occupants of
+a kiva are one cause. An instance of this occurred quite recently at
+Hano. The conduct of the kiva chief gave rise to dissensions, and the
+members opposed to him prepared to build a separate room of their own.
+They chose a gap on the side of the mesa cliff, close to Hano, collected
+stones for the walls, and brought the roof timbers from the distant
+wooded mesas; but when all was ready to lay the foundation their
+differences were adjusted and a complete reconciliation was
+effected.</p>
+
+<p>The other cause assigned is the necessity for additional room when a
+gens has outgrown its kiva. When a gens has increased in numbers
+sufficiently to warrant its having a second kiva, the chief of the
+gentile
+<a name="page135" id="page135"> </a>
+group, who in this case is also chief of the order, proposes to his kin
+to build a separate kiva, and that being agreed to, he assumes the
+direction of the construction and all the dedicatory and other
+ceremonies connected with the undertaking. An instance of this kind
+occurred within the last year or two at Oraibi, where the members of the
+“Katchina” gentes, who are also members of the religious order of
+Katchina, built a spacious kiva for themselves.</p>
+
+<p>The construction of a new kiva is said to be of rare occurrence. On
+the other hand, it is common to hear the kiva chief lament the decadence
+of its membership. In the “Oak Mound” kiva at Sichumovi there are now
+but four members. The young men have married and moved to their wives’
+houses in more thriving villages, and the older men have died. The chief
+in this case also says that some 2&nbsp;years ago the agent gave him a stove
+and pipe, which he set up in the room to add to its comfort. He now has
+grave fears that the stove is an evil innovation, and has exercised a
+deleterious influence upon the fortune of his kiva and its members; but
+the stove is still retained.</p>
+
+<p><a name="chapIV_3_2_7" id="chapIV_3_2_7"><i>Significance of
+structural plan.</i></a>&mdash;The designation of the curious orifice of
+the sipapuh as “the place from which the people emerged” in connection
+with the peculiar arrangement of the kiva interior with its change of
+floor level, suggested to the author that these features might be
+regarded as typifying the four worlds of the genesis myth that has
+exercised such an influence on Tusayan customs; but no clear data on
+this subject were obtained by the writer, nor has Mr. Stephen, who is
+specially well equipped for such investigations, discovered that a
+definite conception exists concerning the significance of the structural
+plan of the kiva. Still, from many suggestive allusions made by the
+various kiva chiefs and others, he also has been led to infer that it
+typifies the four “houses,” or stages, described in their creation
+myths. The sipapuh, with its cavity beneath the floor, is certainly
+regarded as indicating the place of beginning, the lowest house under
+the earth, the abode of Myuingwa, the Creator; the main or lower floor
+represents the second stage; and the elevated section of the floor is
+made to denote the third stage, where animals were created. Mr. Stephen
+observed, at the New Year festivals, that animal fetiches were set in
+groups upon this platform. It is also to be noted that the ladder
+leading to the surface is invariably made of pine, and always rests upon
+the platform, never upon the lower floor, and in their traditional
+genesis it is stated that the people climbed up from the third house
+(stage) by a ladder of pine, and through such an opening as the kiva
+hatchway; only most of the stories indicate that the opening was round.
+The outer air is the fourth world, or that now occupied.</p>
+
+<p>There are occasional references in the Tusayan traditions to circular
+kivas, but these are so confused with fantastic accounts of early mythic
+structures that their literal rendition would serve no useful purpose in
+the present discussion.</p>
+
+<p>
+<a name="page136" id="page136"> </a>
+<a name="chapIV_3_2_8" id="chapIV_3_2_8"><i>Typical
+measurements.</i></a>&mdash;The following list is a record of a number
+of measurements of Tusayan kivas collected by Mr. Stephen. The wide
+difference between the end measurements of the same kiva are usually due
+to the interior offsets that have been noticed on the plans, but the
+differences in the lengths of the sides are due to irregularities of the
+site. The latter differences are not so marked as the former.</p>
+
+<table class="border" summary="table of kiva measurements">
+<tr>
+<th colspan="2">Width at ends.</th>
+<th colspan="2">Length of sides.</th>
+<th>Height<br/>at<br/>center.</th>
+<th colspan="2">Height at ends.</th>
+</tr>
+<tr>
+<td>13&nbsp; &nbsp;6</td>
+<td>&mdash;&mdash;</td>
+<td>24&nbsp; &nbsp;0</td>
+<td>&mdash;&mdash;</td>
+<td>8&nbsp; &nbsp;6</td>
+<td>&mdash;&mdash;</td>
+<td>&mdash;&mdash;</td>
+</tr>
+<tr>
+<td>12&nbsp; &nbsp;0</td>
+<td>&mdash;&mdash;</td>
+<td>21&nbsp; &nbsp;9</td>
+<td>&mdash;&mdash;</td>
+<td>7&nbsp; &nbsp;6</td>
+<td>6&nbsp; &nbsp;6</td>
+<td>&mdash;&mdash;</td>
+</tr>
+<tr>
+<td>14&nbsp; &nbsp;6</td>
+<td>14&nbsp; &nbsp;6</td>
+<td>24&nbsp; &nbsp;6</td>
+<td>23&nbsp; &nbsp;3</td>
+<td>8&nbsp; &nbsp;0</td>
+<td>6&nbsp; &nbsp;6</td>
+<td>6&nbsp; &nbsp;6</td>
+</tr>
+<tr>
+<td>12&nbsp; &nbsp;2</td>
+<td>12&nbsp;11</td>
+<td>23&nbsp; &nbsp;9</td>
+<td>23&nbsp; &nbsp;9</td>
+<td>7&nbsp;10</td>
+<td>6&nbsp; &nbsp;1</td>
+<td>6&nbsp; &nbsp;0</td>
+</tr>
+<tr>
+<td>12&nbsp; &nbsp;6</td>
+<td>12&nbsp; &nbsp;6</td>
+<td>26&nbsp; &nbsp;0</td>
+<td>25&nbsp; &nbsp;3</td>
+<td>7&nbsp; &nbsp;6</td>
+<td>6&nbsp; &nbsp;6</td>
+<td>6&nbsp; &nbsp;6</td>
+</tr>
+<tr>
+<td>13&nbsp; &nbsp;4</td>
+<td>12&nbsp;10</td>
+<td>26&nbsp; &nbsp;8</td>
+<td>26&nbsp; &nbsp;7</td>
+<td>7&nbsp;10</td>
+<td>7&nbsp; &nbsp;0</td>
+<td>7&nbsp; &nbsp;0</td>
+</tr>
+<tr>
+<td>15&nbsp; &nbsp;0</td>
+<td>13&nbsp; &nbsp;6</td>
+<td>26&nbsp; &nbsp;6</td>
+<td>24&nbsp;11</td>
+<td>7&nbsp; &nbsp;4</td>
+<td>6&nbsp; &nbsp;3</td>
+<td>6&nbsp; &nbsp;2</td>
+</tr>
+<tr>
+<td>12&nbsp; &nbsp;6</td>
+<td>11&nbsp; &nbsp;5</td>
+<td>23&nbsp; &nbsp;7</td>
+<td>21&nbsp; &nbsp;9</td>
+<td>8&nbsp; &nbsp;0</td>
+<td>7&nbsp; &nbsp;0</td>
+<td>7&nbsp; &nbsp;0</td>
+</tr>
+<tr>
+<td>12&nbsp; &nbsp;5</td>
+<td>13&nbsp; &nbsp;5</td>
+<td>22&nbsp; &nbsp;8</td>
+<td>24&nbsp; &nbsp;1</td>
+<td>7&nbsp; &nbsp;3</td>
+<td>6&nbsp; &nbsp;1</td>
+<td>6&nbsp; &nbsp;9</td>
+</tr>
+<tr>
+<td>10&nbsp; &nbsp;6</td>
+<td>13&nbsp; &nbsp;6</td>
+<td>27&nbsp; &nbsp;0</td>
+<td>27&nbsp; &nbsp;0</td>
+<td>8&nbsp; &nbsp;3</td>
+<td>6&nbsp; &nbsp;3</td>
+<td>6&nbsp; &nbsp;2</td>
+</tr>
+<tr>
+<td>13&nbsp; &nbsp;6</td>
+<td>11&nbsp; &nbsp;6</td>
+<td>29&nbsp; &nbsp;9</td>
+<td>29&nbsp; &nbsp;0</td>
+<td>11&nbsp; &nbsp;0</td>
+<td>5&nbsp;11</td>
+<td>&mdash;&mdash;</td>
+</tr>
+<tr>
+<td>14&nbsp; &nbsp;6</td>
+<td>&mdash;&mdash;</td>
+<td>28&nbsp; &nbsp;6</td>
+<td>28&nbsp; &nbsp;6</td>
+<td>9&nbsp; &nbsp;8</td>
+<td>6&nbsp; &nbsp;0</td>
+<td>&mdash;&mdash;</td>
+</tr>
+<tr>
+<td>13&nbsp; &nbsp;2</td>
+<td>14&nbsp; &nbsp;0</td>
+<td>28&nbsp; &nbsp;9</td>
+<td>29&nbsp; &nbsp;9</td>
+<td>8&nbsp; &nbsp;6</td>
+<td>7&nbsp; &nbsp;0</td>
+<td>6&nbsp; &nbsp;4</td>
+</tr>
+<tr>
+<td>15&nbsp; &nbsp;1</td>
+<td>14&nbsp; &nbsp;0</td>
+<td>28&nbsp; &nbsp;6</td>
+<td>&mdash;&mdash;</td>
+<td>9&nbsp; &nbsp;6</td>
+<td>7&nbsp; &nbsp;3</td>
+<td>6&nbsp; &nbsp;6</td>
+</tr>
+<tr>
+<td>13&nbsp; &nbsp;0</td>
+<td>12&nbsp; &nbsp;6</td>
+<td>28&nbsp; &nbsp;7</td>
+<td>29&nbsp; &nbsp;6</td>
+<td>&mdash;&mdash;</td>
+<td>7&nbsp; &nbsp;4</td>
+<td>6&nbsp; &nbsp;3</td>
+</tr>
+</table>
+
+<p><a name="chapIV_3_2_9" id="chapIV_3_2_9"><i>List of Tusayan
+kivas.</i></a>&mdash;The following list gives the present names of all
+the kivas in use at Tusayan. The mungkiva or chief kiva of the village
+is in each case designated:</p>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td></td>
+<th>HANO.</th>
+<td></td>
+</tr>
+<tr>
+<td class="number">1.</td>
+<td>Toko´nabi kiva</td>
+<td>Navajo Mountain.</td>
+</tr>
+<tr>
+<td class="number">2.</td>
+<td>Hano sinte´ kiva</td>
+<td>Place of the Hano.</td>
+</tr>
+<tr>
+<td class="inset2" colspan="3">Toko´nabi kiva is the mungkiva.</td>
+</tr>
+<tr>
+<td></td>
+<th>WALPI.</th>
+<td></td>
+</tr>
+<tr>
+<td class="number">1.</td>
+<td>Djiva´to kiva</td>
+<td>Goat.</td>
+</tr>
+<tr>
+<td class="number">2.</td>
+<td>Al kiva</td>
+<td>A´la, Horn.</td>
+</tr>
+<tr>
+<td class="number">3.</td>
+<td>Naca´b kiva</td>
+<td>Na´cabi, half-way or central.</td>
+</tr>
+<tr>
+<td class="number middle" rowspan="2">4.</td>
+<td>Picku´ibi kiva</td>
+<td>Opening oak bud.<a class="tag" name="tag5a" id="tag5a" href="#note5a">5</a></td>
+</tr>
+<tr>
+<!--<td></td>-->
+<td>Wikwa´lobi kiva</td>
+<td>Place of the watchers.</td>
+</tr>
+<tr>
+<td class="number">5.</td>
+<td>Mung kiva</td>
+<td>Mungwi chief.</td>
+</tr>
+<tr>
+<td class="inset2" colspan="3">No. 5 is the mungkiva.</td>
+</tr>
+<tr>
+<td></td>
+<th>SICHUMOVI.</th>
+<td></td>
+</tr>
+<tr>
+<td class="number">1.</td>
+<td>Bave´ntcomo</td>
+<td>Water mound.</td>
+</tr>
+<tr>
+<td class="number">2.</td>
+<td class="rightpad">Kwinzaptcomo</td>
+<td>Oak mound.</td>
+</tr>
+<tr>
+<td class="inset2" colspan="3">Bave´ntcomo is the mungkiva.</td>
+</tr>
+<tr>
+<td></td>
+<th>MASHONGNAVI.</th>
+<td></td>
+</tr>
+<tr>
+<td class="number">1.</td>
+<td>Tcavwu´na kiva</td>
+<td>A small coiled-ware jar.</td>
+</tr>
+<tr>
+<td class="number">2.</td>
+<td>Hona´n kiva</td>
+<td>Honani, Badger, a gens.</td>
+</tr>
+<tr>
+<td class="number">3.</td>
+<td>Gy´arzohi kiva</td>
+<td>Gy´arzo, Paroquet, a gens.</td>
+</tr>
+<tr>
+<td class="number">4.</td>
+<td>Kotcobi kiva</td>
+<td>High place.</td>
+</tr>
+<tr>
+<td class="number">5.</td>
+<td>Al kiva</td>
+<td>A´la, Horn.</td>
+</tr>
+<tr>
+<td class="inset2" colspan="3">Teavwu´na kiva is the mungkiva.</td>
+</tr>
+<tr>
+<td>
+<a name="page137" id="page137"> </a>
+</td>
+<th>SHUPAULOVI.</th>
+<td></td>
+</tr>
+<tr>
+<td class="number">1.</td>
+<td>A´tkabi kiva</td>
+<td>Place below.</td>
+</tr>
+<tr>
+<td class="number">2.</td>
+<td>Kokyangobi kiva</td>
+<td>Place of spider.</td>
+</tr>
+<tr>
+<td class="inset2" colspan="3">A´tkabi kiva is the mungkiva.</td>
+</tr>
+<tr>
+<td></td>
+<th>SHUMOPAVI.</th>
+<td></td>
+</tr>
+<tr>
+<td class="number">1.</td>
+<td>Nuvwa´tikyuobi</td>
+<td><p>High place of snow, San Francisco Mountain.</p></td>
+</tr>
+<tr>
+<td class="number">2.</td>
+<td>Al kiva</td>
+<td>A´la, Horn.</td>
+</tr>
+<tr>
+<td class="number">3.</td>
+<td>Gy´arzobi</td>
+<td>Gy´arzo, Paroquet, a gens.</td>
+</tr>
+<tr>
+<td class="number">4.</td>
+<td>Tco´sobi</td>
+<td>Blue Jay, a gens.</td>
+</tr>
+<tr>
+<td class="inset2" colspan="3">Tco´sobi is the mungkiva.</td>
+</tr>
+</table>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td></td>
+<th colspan="2">ORAIBI.</th>
+<td></td>
+</tr>
+<tr>
+<td class="number">1.</td>
+<td>Tdau kiva</td>
+<td>Tda´uollauwuh</td>
+<td>The singers.</td>
+</tr>
+<tr>
+<td class="number">2.</td>
+<td>Ha´wiobi kiva</td>
+<td><p>Ha´wi, stair;<br/>
+obi, high place.</p></td>
+<td>High stair place.</td>
+</tr>
+<tr>
+<td class="number">3.</td>
+<td>Ish kiva</td>
+<td>Isa´uwuh</td>
+<td>Coyote, a gens.</td>
+</tr>
+<tr>
+<td class="number">4.</td>
+<td class="rightpad">Kwang kiva</td>
+<td class="rightpad">Kwa´kwanti</td>
+<td>Religious order.</td>
+</tr>
+<tr>
+<td class="number">5.</td>
+<td>Ma´zrau kiva</td>
+<td>Ma´mzrauti</td>
+<td>Female order.</td>
+</tr>
+<tr>
+<td class="number">6.</td>
+<td>Na´cabi kiva</td>
+<td>Half way or</td>
+<td>Central place.</td>
+</tr>
+<tr>
+<td class="number">7.</td>
+<td>Sa´kwalen kiva</td>
+<td>Sa´kwa le´na</td>
+<td><p>Blue Flute, a religious order.</p></td>
+</tr>
+<tr>
+<td class="number">8.</td>
+<td>Po´ngobi kiva</td>
+<td>Pongo, a circle</td>
+<td><p>An order who decorate themselves with circular marks on the
+body.</p></td>
+</tr>
+<tr>
+<td class="number">9.</td>
+<td>Hano´ kiva</td>
+<td>Ha´nomuh</td>
+<td>A fashion of cutting the hair.</td>
+</tr>
+<tr>
+<td class="number">10.</td>
+<td>Motc kiva</td>
+<td>Mo´mtci</td>
+<td>The Warriors, an order.</td>
+</tr>
+<tr>
+<td class="number">11.</td>
+<td>Kwita´koli kiva</td>
+<td><p>Kwita, ordure;<br/>
+ko´li, a heap.</p></td>
+<td>Ordure heap.</td>
+</tr>
+<tr>
+<td class="number">12.</td>
+<td>Katcin kiva</td>
+<td>Katcina</td>
+<td>A gens.</td>
+</tr>
+<tr>
+<td class="number">13.</td>
+<td>Tcu kiva</td>
+<td>Tcua, a snake</td>
+<td>Religions order.</td>
+</tr>
+<tr>
+<td class="inset2" colspan="4">
+Tdau kiva is the mungkiva.</td>
+</tr>
+</table>
+
+
+<h5 class="section"><a name="chapIV_4" id="chapIV_4">
+DETAILS OF TUSAYAN AND CIBOLA CONSTRUCTION.</a></h5>
+
+<h6><a name="chapIV_4_1" id="chapIV_4_1">
+WALLS.</a></h6>
+
+<p>The complete operation of building a wall has never been observed at
+Zuñi by the writer, but a close examination of numerous finished and
+some broken-down walls indicates that the methods of construction
+adopted are essentially the same as those employed in Tusayan, which,
+have been repeatedly observed; with the possible difference, however,
+that in the former adobe mud mortar is more liberally used. A&nbsp;singular
+feature of pueblo masonry as observed at Tusayan is the very sparing use
+of mud in the construction of the walls; in fact, in some instances when
+walls are built during the dry season, the larger stones are laid up in
+the walls without the use of mud at all, and are allowed to stand in
+this condition until the rains come; then the mud mortar is mixed, the
+interstices of the walls filled in with it and with chinking stones, and
+the inside walls are plastered. But the usual practice is to complete
+the house at once, finishing it inside and out with the requisite
+mortar. In some instances the outside walls are coated, completely
+<a name="page138" id="page138"> </a>
+covering the masonry, but this is not done in many of the houses, as may
+be seen by reference to the preceding illustrations of the Tusayan
+villages. At Zuñi, on the other hand, a&nbsp;liberal and frequently renewed
+coating of mud is applied to the walls. Only one piece of masonry was
+seen in the entire village that did not have traces of this coating of
+mud, viz, that portion of the second story wall of house No.&nbsp;2 described
+as possibly belonging to the ancient nucleus pueblo of Halona and
+illustrated in <a href="#plateLVIII">Pl. <span class="smallroman">LVIII</span></a>. Even the rough masonry of the kivas is
+partly surfaced with this medium, though many jagged stones are still
+visible. As a result of this practice it is now in many cases impossible
+to determine from mere superficial inspection whether the underlying
+masonry has been constructed of stone or of adobe; a&nbsp;difficulty that may
+be realized from an examination of the views of Zuñi in Chapter <span
+class="smallroman">III</span>. Where the fall of water, such as the
+discharge from a roof-drain, has removed the outer coating of mud that
+covers stonework and adobe alike, a&nbsp;large proportion of these exposures
+reveal stone masonry, so that it is clearly apparent that Zuñi is
+essentially a stone village. The extensive use of sun-dried bricks of
+adobe has grown up within quite recent times. It is apparent, however,
+that the Zuñi builders preferred to use stone; and even at the present
+time they frequently eke out with stonework portions of a house when the
+supply of adobe has fallen short. An early instance of such
+supplementary use of stone masonry still survives in the church
+building, where the old Spanish adobe has been repaired and filled in
+with the typical tabular aboriginal masonry, consisting of small stones
+carefully laid, with very little intervening mortar showing on the face.
+Such reversion to aboriginal methods probably took place on every
+opportunity, though it is remarkable that the Indians should have been
+allowed to employ their own methods in this instance. Although this
+church building has for many generations furnished a conspicuous example
+of typical adobe construction to the Zuñi, he has never taken the lesson
+sufficiently to heart to closely imitate the Spanish methods either in
+the preparation of the material or in the manner of its use. The adobe
+bricks of the church are of large and uniform size, and the mud from
+which they were made had a liberal admixture of straw. This binding
+material does not appear in Zuñi in any other example of adobe that has
+been examined, nor does it seem to have been utilized in any of the
+native pueblo work either at this place or at Tusayan.
+<!---->
+<span class="floatleft caption">
+<a name="fig32" id="fig32"> </a>
+<img src="images/fig32.png" width="237" height="195"
+alt="Zuñi chimney"
+title="Zuñi chimney" /><br/>
+<br/>
+<span class="smallcaps">Fig. 32.</span>
+A Zuñi chimney,<br/>
+showing pottery fragments<br/>
+embedded in its adobe base.</span>
+<!---->
+Where molded adobe bricks have been used by the Zuñi in housebuilding
+they have been made from the raw material just as it was taken from the
+fields. As a result these bricks have little of the durability of the
+Spanish work. <a href="#plateXCVI">Pl. <span class="smallroman">XCVI</span></a> illustrates an adobe wall of Zuñi, part of
+an unroofed house. The old adobe church at Hawikuh (<a href="#plateXLVIII">Pl. <span class="smallroman">XLVIII</span></a>),
+abandoned for two centuries, has withstood the wear of time and weather
+better than any of the stonework of the surrounding houses. On the
+right-hand side of the street that shows in the foreground of <a href="#plateLXXVIII">Pl. <span class="smallroman">LXXVIII</span></a> is an
+illustration of the construction
+<a name="page139" id="page139"> </a>
+of a wall with adobe bricks. This example is very recent, as it has not
+yet been roofed over. The top of the wall, however, is temporarily
+protected by the usual series of thin sandstone slabs used in the
+finishing of wall copings. The very rapid disintegration of native-made
+adobe walls has brought about the use in Zuñi of many protective
+devices, some of which will be noticed in connection with the discussion
+of roof drains and wall copings. Figs. 32 and 33 illustrate a curious employment of pottery
+fragments on a mud-plastered wall and on the base of a chimney to
+protect the adobe coating against rapid erosion by the rains. These
+pieces, usually fragments from large vessels, are embedded in the adobe
+with the convex side out, forming an armor of pottery scales well
+adapted to resist disintegration, by the elements.</p>
+
+<p class="illustration">
+<a name="fig33" id="fig33"> </a>
+<img src="images/fig33.png" width="307" height="231"
+alt="Zuñi oven"
+title="Zuñi oven" /></p>
+<p class="caption"><span class="smallcaps">Fig. 33.</span>
+A Zuñi oven with pottery scales embedded in its surface.</p>
+
+<p>The introduction of the use of adobe in Zuñi should probably be
+attributed to foreign influence, but the position of the village in the
+open plain at a distance of several miles from the nearest outcrop of
+suitable building stone naturally led the builders to use stone more
+sparingly when an available substitute was found close at hand. The thin
+slabs of stone, which had to be brought from a great distance, came to
+be used only for the more exposed portions of buildings, such as copings
+on walls and borders around roof openings. Still, the pueblo
+<a name="page140" id="page140"> </a>
+builders never attained to a full appreciation of the advantages and
+requirements of this medium as compared with stone. The adobe walls are
+built only as thick as is absolutely necessary, few of them being more
+than a foot in thickness. The walls are thus, in proportion, to height
+and weight, sustained, thinner than the crude brick construction of
+other peoples, and require protection and constant repairs to insure
+durability. As to thickness, they are evidently modeled directly after
+the walls of stone masonry, which had already, in both Tusayan and
+Cibola, been pushed to the limit of thinness. In fact, since the date of
+the survey of Zuñi, on which the published plan is based, the walls of
+several rooms over the court passageway in the house, illustrated in <a
+href="#plateLXXXII">Pl. <span class="smallroman">LXXXII</span></a>,
+have entirely fallen in, demonstrating the insufficiency of the thin
+walls to sustain the weight of several stories.</p>
+
+<p>The climate of the pueblo region is not wholly suited to the
+employment of adobe construction, as it is there practiced. For several
+months in the year (the rainy season) scarcely a day passes without
+violent storms which play havoc with the earth-covered houses,
+necessitating constant vigilance and frequent repairs on the part of the
+occupants.</p>
+
+<p>Though the practice of mud-coating all walls has in Cibola
+undoubtedly led to greater carelessness and a less rigid adherence to
+ancient methods of construction, the stone masonry may still be seen to
+retain some of the peculiarities that characterize ancient examples.
+Features of this class are still more apparent at Tusayan, and
+notwithstanding the rudeness of much of the modern stone masonry of this
+province, the fact that the builders are familiar with the superior
+methods of the ancient builders, is clearly shown in the masonry of the
+present villages.</p>
+
+<p>Perhaps the most noteworthy characteristic of pueblo masonry, and one
+which is more or less present in both ancient and modern examples, is
+the use of small chinking stones for bringing the masonry to an even
+face after the larger stones forming the body of the wall have been laid
+in place. This method of construction has, in the case of some of the
+best built ancient pueblos, such as those on the Chaco in New Mexico,
+resulted in the production of marvelously finished stone walls, in which
+the mosaic-like bits are so closely laid as to show none but the finest
+joints on the face of the wall with but little trace of mortar. The
+chinking wedges necessarily varied greatly in dimensions to suit the
+sizes of the interstices between the larger stones of the wall. The use
+of stone in this manner no doubt suggested the banded walls that form so
+striking a feature in some of the Chaco houses. This arrangement was
+likely to be brought about by the occurrence in the cliffs of seams of
+stone of two degrees of thickness, suggesting to the builders the use of
+stones of similar thickness in continuous bands. The ornamental effect
+of this device was originally an accidental result of adopting the most
+convenient method of using the material at hand. Though the masonry of
+the modern pueblos does not afford examples of distinct bands, the
+<a name="page141" id="page141"> </a>
+introduction of the small chinking spalls often follows horizontal lines
+of considerable length. Even in mud-plastered Zuñi, many outcrops of
+these thin, tabular wedges protrude from the partly eroded mudcoating of
+a wall and indicate the presence of this kind of stone masonry. An
+example is illustrated in Fig. 34, a&nbsp;tower-like
+projection at the northeast corner of house No.&nbsp;2.</p>
+
+<p class="illustration">
+<a name="fig34" id="fig34"> </a>
+<img src="images/fig34.jpg" width="262" height="326"
+alt="Zuñi masonry"
+title="Zuñi masonry" /></p>
+<p class="caption"><span class="smallcaps">Fig. 34.</span>
+Stone wedges of Zuñi masonry exposed in rain-washed wall.</p>
+
+<p>In the Tusayan house illustrated in <a href="#plateLXXXIV">Pl.
+<span class="smallroman">LXXXIV</span></a>, the construction of which
+was observed at Oraibi, the interstices between the large stones that
+formed the body of the wall, containing but small quantities of
+<a name="page142" id="page142"> </a>
+mud mortar, were filled in or plugged with small fragments of stone,
+which, after being partly embedded in the mud of the joint, were driven
+in with unhafted stone hammers, producing a fairly even face of masonry,
+afterward gone over with mud plastering of the consistency of modeling
+clay, applied a handful at a time. Piled up on the ground near the new
+house at convenient points for the builders may be seen examples of the
+larger wall stones, indicating the marked tabular character of the
+pueblo masons’ material. The narrow edges of similar stones are visible
+in the unplastered portions of the house wall, which also illustrates
+the relative proportion of chinking stones. This latter, however, is a
+variable feature. <a href="#plateXV">Pl. <span class="smallroman">XV</span></a> affords a clear illustration of the
+proportion of these small stones in the old masonry of Payupki; while in
+<a href="#plateXI">Pl. <span class="smallroman">XI</span></a>,
+illustrating a portion of the outer wall of the Fire House, the tablets
+are fewer in number and thinner, their use predominating in the
+horizontal joints, as in the best of the old examples, but not to the
+same extent. <a href="#fig35">Fig. 35</a> illustrates the inner face
+of an unplastered wall of a small house at Ojo Caliente, in which the
+modern method of using the chinking stones is shown. This example bears
+a strong resemblance to the Payupki masonry illustrated in <a href="#plateXV">Pl. <span class="smallroman">XV</span></a> in the
+irregularity with which the chinking stones are distributed in the
+joints of the wall. The same room affords an illustration of a
+cellar-like feature having the appearance of an intentional excavation
+to attain a depth for this room
+<a name="page143" id="page143"> </a>
+corresponding to the adjoining floor level, but this effect is due
+simply to a clever adaptation of the house wall to an existing ledge of
+sandstone. The latter has had scarcely any artificial treatment beyond
+the partial smoothing of the rock in a few places and the cutting out of
+a small niche from the rocky wall. This niche occupies about the same
+position in this room that it does in the ordinary pueblo house. It is
+remarkable that the pueblo builders did not to a greater extent utilize
+their skill in working stone in the preparation of some of the irregular
+rocky sites that they have at times occupied for the more convenient
+reception of their wall foundations; but in nearly all such cases the
+buildings have been modified to suit the ground. An example of this
+practice is illustrated in <a href="#plateXXIII">Pl. <span class="smallroman">XXIII</span></a>, from the west side of Walpi. In some of
+the ancient examples the labor required to so prepare the sites would
+not have exceeded that expended on the massive masonry composed of
+numberless small stones. Many of the older works testify to the
+remarkable patience and industry of the builders in amassing and
+carefully adjusting vast quantities of building materials, and the
+modern Indians of Tusayan and Cibola have inherited much of this ancient
+spirit; yet this industry was rarely diverted to the excavation of room
+or village sites, except in the case of the kivas, in which special
+motives led to the practice. In some of the Chaco pueblos, as now seen,
+the floors of outer marginal rooms seem to be depressed below the
+general level of the surrounding soil; but it is now difficult to
+determine whether such was the original arrangement, as much sand and
+soil have drifted against the outer walls, raising the surface. In none
+of the pueblos within the limits of the provinces under discussion has
+there been found any evidence of the existence of underground cellars;
+the rooms that answer such purpose are built on the level of the ground.
+At Tusayan the ancient practice of using the ground-floor rooms for
+storage still prevails. In these are kept the dried fruit, vegetables,
+and meats that constitute the principal winter food of the Tusayan.
+Throughout Tusayan the walls of the first terrace rooms are not finished
+with as much care as those above that face the open courts. A&nbsp;quite
+smoothly finished coat of adobe is often seen in the upper stories, but
+is much more rarely applied to the rough masonry of the ground-floor
+rooms. At Zuñi no such difference of treatment is to be seen, a&nbsp;result
+of the recent departure from their original defensive use. At the
+present day most of the rooms that are built on the ground have external
+doors, often of large size, and are regarded by the Zuñi as preferable
+to the upper terraces as homes. This indicates that the idea of
+convenience has already largely overcome the traditional defensive
+requirements of pueblo arrangement. The general finish and quality of
+the masonry, too, does not vary noticeably in different portions of the
+village. An occasional wall may be seen in which underlying stones may
+be traced through the thin adobe covering, as in one of the walls of the
+court illustrated in <a href="#plateLXXXII">Pl. <span class="smallroman">LXXXII</span></a>, but most of the walls have a fairly
+smooth
+<a name="page144" id="page144"> </a>
+finish. The occasional examples of rougher masonry do not seem to be
+confined to any particular portion of the village. At Tusayan, on the
+other hand, there is a noticeable difference in the extent to which the
+finishing coat of adobe has been used in the masonry. The villages of
+the first mesa, whose occupants have come in frequent contact with the
+eastern pueblo Indians and with outsiders generally, show the effect in
+the adoption of several devices still unknown to their western
+neighbors, as is shown in the discussion of the distribution of roof
+openings in these villages, pp. <a href="#page201">201</a>-<a href="#page208">208</a>. The builders of the first mesa seem also to have
+imitated their eastern brethren in the free use of the adobe coating
+over their masonry, while at the villages of the middle mesa, and
+particularly at Oraibi, the practice has been comparatively rare,
+imparting an appearance of ruggedness and antiquity to the
+architecture.</p>
+
+<p class="illustration">
+<a name="fig35" id="fig35"> </a>
+<img src="images/fig35.jpg" width="266" height="197"
+alt="Ojo Caliente wall"
+title="Ojo Caliente wall" /></p>
+<p class="caption"><span class="smallcaps">Fig. 35.</span>
+An unplastered house wall in Ojo Caliente.</p>
+
+<p>The stonework of this village, perhaps approaches the ancient types
+more closely than that of the others, some of the walls being noticeable
+for the frequent use of long bond stones. The execution of the masonry
+at the corners of some of the houses enforces this resemblance and
+indicates a knowledge of the principles of good construction in the
+proper alternation of the long stones. A&nbsp;comparison with the Kin-tiel
+masonry
+(Pl. <span class="smallroman">LXXXIX</span>) will show this resemblance. As a rule in
+pueblo masonry an upper house wall was supported along its whole length
+by a wall of a lower story, but occasional exceptions occur in both
+ancient and modern work, where the builders have dared to trust the
+weight of upper walls to wooden beams or girders, supported along part
+of their length by buttresses from the walls at their ends or by large,
+clumsy pieces of masonry, as was seen in the house of Sichumovi. In an
+upper story of Walpi also, partitions occur that are not built
+immediately over the lower walls, but on large beams supported on
+masonry piers. In the much higher terraces of Zuñi, the strength of many
+of the inner ground walls must be seriously taxed to withstand the
+superincumbent weight, as such walls are doubtless of only the average
+thickness and strength of ground walls. The dense clustering of this
+village has certainly in some instances thrown the weight of two, three,
+or even four additional, stories upon walls in which no provision was
+made for the unusual strain. The few supporting walls that were
+accessible to inspection did not indicate any provision in their
+thickness for the support of additional weight; in fact, the builders of
+the original walls could have no knowledge of their future requirements
+in this respect. In the pueblos of the Chaco upper partition walls were,
+in a few instances, supported directly on double girders, two posts of
+12 or 14 inches in diameter placed side by side, without reinforcement
+by stone piers or buttresses, the room below being left wholly
+unobstructed. This construction was practicable for the careful builders
+of the Chaco, but an attempt by the Tusayan to achieve the same result
+would probably end in disaster. It was quite common among the ancient
+builders to divide the ground or storage floor into smaller rooms than
+the floor above, still preserving the vertical alignment of the
+walls.</p>
+
+<p class="illustration">
+<a name="plateLXXXIX" id="plateLXXXIX"> </a>
+<img src="images/plate89.jpg" width="366" height="208"
+alt="Kin-Tiel masonry"
+title="Kin-Tiel masonry" /></p>
+<p class="caption smallcaps">
+Plate LXXXIX. Masonry in the north wing of Kin-tiel.</p>
+
+<p>
+<a name="page145" id="page145"> </a>
+The finish of pueblo masonry rarely went far beyond the two leading
+forms, to which attention has been called, the free use of adobe on the
+one hand and the banded arrangement of ancient masonry on the other.
+These types appear to present development along divergent lines. The
+banded feature doubtless reached such a point of development in the
+Chaco pueblos that its decorative value began to be appreciated, for it
+is apparent that its elaboration has extended far beyond the
+requirements of mere utility. This point would never have been reached
+had the practice prevailed of covering the walls with a coating of mud.
+The cruder examples of banded construction, however&mdash;those that
+still kept well within constructional expediency&mdash;were doubtless
+covered with a coating of plaster where they occurred inside of the
+rooms. At Tusayan and Cibola, on the other hand, the tendency has been
+rather to elaborate the plastic element of the masonry. The nearly
+universal use of adobe is undoubtedly largely responsible for the more
+slovenly methods of building now in vogue, as it effectually conceals
+careless construction. It is not to be expected that walls would be
+carefully constructed of banded stonework when they were to be
+subsequently covered with mud. The elaboration of the use of adobe and
+its employment as a periodical coating for the dwellings, probably
+developed gradually into the use of a whitewash for the house walls,
+resulting finally in crude attempts at wall decoration.</p>
+
+<p>Many of the interiors in Zuñi are washed with a coating of white,
+clayey gypsum, used in the form of a solution made by dissolving in hot
+water the lumps of the raw material, found in many localities. The
+mixture is applied to the walls while hot, and is spread by means of a
+rude glove-like sack, made of sheep or goat skin, with the hair side
+out. With this primitive brush the Zuñi housewives succeed in laying on
+a smooth and uniform coating over the plaster. An example of this class
+of work was observed in a room of house No.&nbsp;2. It is difficult to
+determine to what extent this idea is aboriginal; as now employed it has
+doubtless been affected by the methods of the neighboring Spanish
+population, among whom the practice of white-coating the adobe houses
+inside and out is quite common. Several traces of whitewashing have been
+found among the cliff-dwellings of Canyon de Chelly, notably at the ruin
+known as Casa Blanca, but as some of these ruins contained evidences of
+post-Spanish occupation, the occurrence there of the whitewash does not
+necessarily imply any great antiquity for the practice.</p>
+
+<p>External use of this material is much rarer, particularly in Zuñi,
+where only a few walls of upper stories are whitened. Where it is not
+protected from the rains by an overhanging coping or other feature, the
+finish is not durable. Occasionally where a doorway or other opening has
+been repaired the evidences of patchwork are obliterated by a
+surrounding band of fresh plastering, varying in width from 4&nbsp;inches to
+a foot or more. Usually this band is laid on as a thick wash of adobe,
+but in some instances a decorative effect is attained by using white. It
+<a name="page146" id="page146"> </a>
+is curious to find that at Tusayan the decorative treatment of the
+finishing wash has been carried farther than at Zuñi. The use of a
+darker band of color about the base of a whitewashed room has already
+been noticed in the description of a Tusayan interior. On many of the
+outer walls of upper stories the whitewash has been stopped within a
+foot of the coping, the unwhitened portion of the walls at the top
+having the effect of a frieze. In a second story house of Mashongnavi,
+that had been carefully whitewashed, additional decorative effect was
+produced by tinting a broad band about the base of the wall with an
+application of bright pinkish clay, which was also carried around the
+doorway as an enframing band, as in the case of the Zuñi door above
+described. The angles on each side, at the junction of the broad base
+band with the narrower doorway border, were filled in with a design of
+alternating pink and white squares. This doorway is illustrated in
+Fig. 36. Farther north, on the same terrace, the
+jamb of a whitewashed doorway was decorated with the design shown on the
+right hand side of Fig. 36, executed also in pink
+clay. This design closely resembles a pattern that is commonly
+embroidered upon the large white “kachina,” or ceremonial blankets. It
+is not known whether the device is here regarded as having any special
+significance. The pink clay in which these designs have been executed
+has in Sichumovi been used for the coating of an entire house front.</p>
+
+<p class="illustration">
+<a name="fig36" id="fig36"> </a>
+<img src="images/fig36.png" width="313" height="132"
+alt="Mashongnavi wall decorations"
+title="Mashongnavi wall decorations" /></p>
+<p class="caption"><span class="smallcaps">Fig. 36.</span>
+Wall decorations in Mashongnavi executed in pink on a white ground.</p>
+
+<p>In addition to the above-mentioned uses of stone and earth in the
+masonry of house walls, the pueblo builders have employed both these
+materials in a more primitive manner in building the walls of corrals
+and gardens, and for other purposes. The small terraced gardens of Zuñi,
+located on the borders of the village on the southwest and southeast
+sides, close to the river bank, are each surrounded by walls 2½ or 3
+feet high, of very light construction, the average thickness not
+exceeding 6 or 8 inches. These rude walls are built of small,
+irregularly rounded lumps of adobe, formed by hand, and coarsely
+plastered with mud. When the crops are gathered in the fall the walls
+are broken down in places to facilitate access to the inclosures, so
+that they require repairing at each planting season. Aside from this
+they are so frail as to require frequent repairs throughout the period
+of their use. This method of building walls was adopted because it was
+the readiest and
+<a name="page147" id="page147"> </a>
+least laborious means of inclosing the required space. The character of
+these garden walls is illustrated in Pl. <span
+class="smallroman">XC</span>, and their construction with rough
+lumps of crude adobe shows also the contrast between the weak appearance
+of this work and the more substantial effect of the masonry of the
+adjoining unfinished house. At the Cibolan farming pueblos inclosing
+walls were usually made of stone, as were also those of Tusayan. <a href="#plateLXX">Pl. <span class="smallroman">LXX</span></a> indicates
+the manner in which the material has been used in the corrals of
+Pescado, located within the village. The stone walls are used in
+combination with stakes, such as are employed at the main pueblo.</p>
+
+<p class="illustration">
+<a name="plateXC" id="plateXC"> </a>
+<img src="images/plate90.jpg" width="481" height="323"
+alt="Zuñi garden walls"
+title="Zuñi garden walls" /></p>
+<p class="caption smallcaps">
+Plate XC. Adobe garden walls near Zuñi.</p>
+
+<p>Small inclosed gardens, like those of Zuñi, occur at several points
+in Tusayan. The thin walls are made of dry masonry, quite as rude in
+character as those inclosing the Zuñi gardens. The smaller clusters are
+usually located in the midst of large areas of broken stone that has
+fallen from the mesa above. In the foreground of <a href="#plateXXII">Pl. <span class="smallroman">XXII</span></a> may be seen
+a number of examples of such work. Pl. <span class="smallroman">XCI</span> illustrates a group of corrals at Oraibi
+whose walls are laid up without the use of mud mortar.</p>
+
+<p class="illustration">
+<a name="plateXCI" id="plateXCI"> </a>
+<img src="images/plate91.jpg" width="457" height="315"
+alt="Oraibi corrals"
+title="Oraibi corrals" /></p>
+<p class="caption smallcaps">
+Plate XCI. A group of stone corrals near Oraibi.</p>
+
+<p>Where exceptionally large blocks of stone are available they have
+been utilized in an upright position, and occur at greater or less
+intervals along the thin walls of dry masonry. An example of this use
+was seen in a garden wall on the west side of Walpi, where the stones
+had been set on end in the yielding surface of a sandy slope among the
+foothills. A&nbsp;similar arrangement, occurring close to the houses at Ojo
+Caliente, is illustrated in Pl. <span class="smallroman">XCII</span>. Large, upright slabs of stone have been
+used by the pueblo builders in many ways, sometimes incorporated into
+the architecture of the houses, and again in detached positions at some
+distance from the villages. Pls. <a href="#plateXCIII"><span class="smallroman">XCIII</span></a> and <a href="#plateXCIV"><span class="smallroman">XCIV</span></a>, drawn from the photographs of Mr.
+W.&nbsp;H. Jackson, afford illustrations of this usage in the ancient
+ruins of Montezuma Canyon. In the first of these cases the stones were
+utilized, apparently, in house masonry. Among the ruins in the valley of
+the San Juan and its tributaries, as described by Messrs. W.&nbsp;H.
+Holmes and W.&nbsp;H. Jackson, varied arrangements of upright slabs of
+stone are of frequent occurrence. The rows of stones are sometimes
+arranged in squares, sometimes in circles, and occasionally are
+incorporated into the walls of ordinary masonry, as in the example
+illustrated. Isolated slabs are also met with among the ruins. At
+K’iakima, at a point near the margin of the ruin, occurs a series of
+very large, upright slabs, which occupy the positions of headstones to a
+number of small inclosures, thought to be mortuary, outlined upon the
+ground. These have been already described in connection with the ground
+plan of this village.</p>
+
+<p class="illustration">
+<a name="plateXCII" id="plateXCII"> </a>
+<img src="images/plate92.jpg" width="363" height="206"
+alt="Ojo Caliente wall"
+title="Ojo Caliente wall" /></p>
+<p class="caption smallcaps">
+Plate XCII. An inclosing wall of upright stones at Ojo Caliente.</p>
+
+<p>The employment of upright slabs of stone to mark graves probably
+prevailed to some extent in ancient practice, but other uses suggest
+themselves. Occupying a conspicuous point in the village of Kin-tiel (<a
+href="#plateLXIII">Pl. <span class="smallroman">LXIII</span></a>) is
+an upright slab of sandstone which seems to stand in its original
+position undisturbed, though the walls of the adjoining rooms
+<a name="page148" id="page148"> </a>
+are in ruins. A&nbsp;similar feature was seen at Peñasco Blanco, on the east
+side of the village and a short distance without the inclosing wall.
+Both these rude pillars are, in character and in position, very similar
+to an upright stone of known use at Zuñi. A&nbsp;hundred and fifty feet from
+this pueblo is a large upright block of sandstone, which is said to be
+used as a datum point in the observations of the sun made by a priest of
+Zuñi for the regulation of the time for planting and harvesting, for
+determining the new year, and for fixing the dates of certain other
+ceremonial observances. By the aid of such devices as the native priests
+have at their command they are enabled to fix the date of the winter
+solstice with a fair degree of accuracy. Such rude determination of time
+was probably an aboriginal invention, and may have furnished the motive
+in other cases for placing stone pillars in such unusual positions. The
+explanation of the governor of Zuñi for a sun symbol seen on an upright
+stone at Matsaki has been given in the description of that place. Single
+slabs are also used, as seen in the easternmost room group of
+Tâaaiyalana, and in the southwestern cluster on the same mesa, in the
+building of shrines for the deposit of plume sticks and other ceremonial
+objects.</p>
+
+<p class="illustration">
+<a name="plateXCIII" id="plateXCIII"> </a>
+<img src="images/plate93.png" width="441" height="270"
+alt="sandstone blocks"
+title="sandstone blocks" /></p>
+<p class="caption smallcaps">
+Plate XCIII. Upright blocks of sandstone built into an ancient pueblo
+wall.</p>
+
+<p>An unusual employment of small stones in an upright position occurs
+at Zuñi. The inclosing wall of the church yard, still used as a burial
+place, is provided at intervals along its top with upright pieces of
+stone set into the joints of a regular coping course that caps the wall.
+This feature may have some connection with the idea of vertical grave
+stones, noted at K’iakima. It is difficult to surmise what practical
+purpose could have been subserved by these small upright stones.</p>
+
+<p class="illustration">
+<a name="plateXCIV" id="plateXCIV"> </a>
+<img src="images/plate94.png" width="442" height="267"
+alt="ancient rock wall"
+title="ancient rock wall" /></p>
+<p class="caption smallcaps">
+Plate XCIV. Ancient wall of upright rocks in southwestern Colorado.</p>
+
+<p>Notwithstanding the use of large stones for special purposes the
+pueblo builders rarely appreciated the advantages that might be obtained
+by the proper use of such material. Pueblo masonry is essentially made
+up of small, often minute, constructional units. This restriction
+doubtless resulted in a higher degree of mural finish than would
+otherwise have been attained, but it also imposes certain limitations
+upon their architectural achievement. Some of these are noted in the
+discussion of openings and of other details of construction.</p>
+
+<p><a href="#plateXLV">Pl. <span class="smallroman">XLV</span></a>,
+an illustration of a Mormon mill building at Moen-kopi, already referred
+to in the description of that village, is introduced for the purpose of
+comparing the methods adopted by the natives and by the whites in the
+treatment of the same class of material. Perhaps the most noteworthy
+contrast is seen in the sills and lintels of the openings.</p>
+
+<h6><a name="chapIV_4_2" id="chapIV_4_2">
+ROOFS AND FLOORS.</a></h6>
+
+<p>In the pueblo system of building, roof and floor is one; for all the
+floors, except such as are formed immediately on the surface of the
+ground, are at the same time the roofs and ceilings of lower rooms. The
+pueblo plan of to-day readily admits of additions at any time and almost
+at any point of the basal construction. The addition of rooms
+<a name="page149" id="page149"> </a>
+above converts a roof into the floor of the new room, so that there can
+be no distinction in method of construction between floors and roofs,
+except the floors are occasionally covered with a complete paving of
+thin stone slabs, a&nbsp;device that in external roofs is confined to the
+copings that cap the walls and enframe openings.</p>
+
+<p class="floatright picture">
+<a name="fig37" id="fig37"> </a>
+<img src="images/fig37top.gif" width="270" height="56"
+alt="roof construction"
+title="roof construction" /></p>
+
+<p class="floatright picture">
+<img src="images/fig37middle.gif" width="392" height="60"
+alt="roof construction"
+title="roof construction" /></p>
+
+<p class="floatright picture">
+<img src="images/fig37bottom.gif" width="421" height="101"
+alt="roof construction"
+title="roof construction" /></p>
+
+<p class="floatright capleft"><span class="smallcaps">Fig.
+37.</span>
+Diagram of Zuñi roof construction.</p>
+
+<p>The methods of roofing their houses practiced by the pueblo builders
+varied but little, and followed the general order of construction that
+has been outlined in describing Tusayan house building. The diagram,
+shown in Fig. 37, an isometric projection
+illustrating roof construction, is taken from a Zuñi example, the
+building of which was observed by the writer. The roof is built by first
+a series of principal beams or rafters. These are usually straight,
+round poles of 6 or 8 inches in diameter, with all bark and projecting
+knots removed. Squared beams are of very rare occurrence; the only ones
+seen were those of the Tusayan kivas, of Spanish manufacture. In
+recently constructed houses the principal beams are often of large size
+and are very neatly squared off at the ends. Similar square ended beams
+of large size are met with in the ancient work of the Chaco pueblos, but
+there the enormous labor involved in producing the result with only the
+aid of stone implements is in keeping with the highly finished character
+of the masonry and the general massiveness of the construction. The same
+treatment was adopted in Kin-tiel, as may be seen in <a href="#plateXCV">Pl. <span class="smallroman">XCV</span></a>, which
+illustrates a beam resting upon a ledge or offset of the inner walls.
+The recent introduction of improved mechanical aids has exerted a strong
+influence on the character of the construction in greatly facilitating
+execution. The use of the American ax made it a much easier task to cut
+large timbers, and the introduction of the “burro” and ox greatly
+facilitated their transportation. In the case of the modern pueblos,
+such as Zuñi, the dwelling rooms that were built by families so poor as
+not to have these aids would to some extent indicate the fact by their
+more primitive construction, and particularly by their small size, in
+<a name="page150" id="page150"> </a>
+this respect more closely resembling the rooms of the ancient pueblos.
+As a result the poorer classes would be more likely to perpetuate
+primitive devices, through the necessity for practicing methods that to
+the wealthier members of the tribe were becoming a matter of tradition
+only. In such a sedentary tribe as the present Zuñi, these differences
+of wealth and station are more marked than one would expect to find
+among a people practicing a style of architecture so evidently
+influenced by the communal principle, and the architecture of to-day
+shows the effect of such distinctions. In the house of the governor of
+Zuñi a new room has been recently built, in which the second series of
+the roof, that applied over the principal beams, consisted of pine
+shakes or shingles, and these supported the final earth covering without
+any intervening material. In the typical arrangement, however,
+illustrated in the figure, the first series, or principal beams, are
+covered by another series of small poles, about an inch and a half or
+two inches in diameter, at right angles to the first, and usually laid
+quite close together. The ends of these small poles are partially
+embedded in the masonry of the walls. In an example of the more careful
+and laborious work of the ancient builders seen at Peñasco Blanco, on
+the Chaco, the principal beams were covered with narrow boards, from 2
+to 4 inches wide and about 1&nbsp;inch thick, over which was put the usual
+covering of earth. The boards had the appearance of having been split
+out with wedges, the edges and faces having the characteristic fibrous
+appearance of torn or split wood. At Zuñi an instance occurs where split
+poles have been used for the second series of a roof extending through
+the whole thickness of the wall and projecting outside, as is commonly
+the case with the first series. A&nbsp;similar arrangement was seen in a
+ruined tower in the vicinity of Fort Wingate, New Mexico. In the typical
+roof construction illustrated the second series is covered with small
+twigs or brush, laid in close contact and at right angles to the
+underlying series, or parallel with the main beams. <a href="#plateXCVI">Pl. <span class="smallroman">XCVI</span></a>,
+illustrating an unroofed adobe house in Zuñi, shows several bundles of
+this material on an adjoining roof. This series is in turn covered with
+a layer of grass and small brush, again at right angles, which prepares
+the frame for the reception of the final earth covering, this latter
+being the fifth application to the roof. In the example illustrated the
+entire earth covering of the roof was finished in a single application
+of the material. It has been seen that at Tusayan a layer of moistened
+earth is applied, followed by a thicker layer of the dry soil.</p>
+
+<p class="illustration">
+<a name="plateXCV" id="plateXCV"> </a>
+<img src="images/plate95.png" width="456" height="265"
+alt="Kin-tiel floor beams"
+title="Kin-tiel floor beams" /></p>
+<p class="caption smallcaps">
+Plate XCV. Ancient floor-beams at Kin-tiel.</p>
+
+<p>In ancient construction, the method of arranging the material varied
+somewhat. In some cases series 3 was very carefully constructed of
+straight willow wands laid side by side in contact. This gave a very
+neat appearance to the ceiling within the room. Examples were seen in
+Canyon de Chelly, at Mummy Cave, and at Hungo Pavie and Pueblo Bonito on
+the Chaco.</p>
+
+<p>Again examples occur where series 2 is composed of 2-inch poles in
+contact and the joints are chinked on the upper side with small
+<a name="page151" id="page151"> </a>
+stones to prevent the earth from sifting through. This arrangement was
+seen in a small cluster on the canyon bottom on the de Chelly.</p>
+
+<p class="illustration">
+<a name="plateXCVI" id="plateXCVI"> </a>
+<img src="images/plate96.jpg" width="451" height="263"
+alt="Zuñi walls"
+title="Zuñi walls" /></p>
+<p class="caption smallcaps">
+Plate XCVI. Adobe walls in Zuñi.</p>
+
+<p>The small size of available roofing rafters has at Tusayan brought
+about a construction of clumsy piers of masonry in a few of the larger
+rooms, which support the ends of two sets of main girders, and these in
+turn carry series&nbsp;1, or the main ceiling beams of the roof. The girders
+are generally double, an arrangement that has been often employed in
+ancient times, as many examples occur among the ruins. The purpose of
+such arrangement may have been to admit of the abutment of the ends of
+series&nbsp;1, when the members of the latter were laid in contact. In
+the absence of squared beams, which seem never to have been used in the
+old work, this abutment could only be securely accomplished by the use
+of double girders, as suggested in the following diagram, Fig.&nbsp;38.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig38" id="fig38"> </a>
+<img src="images/fig38.png" width="186" height="37"
+alt="roof beams over girders"
+title="roof beams over girders" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 38.</span>
+Showing abutment<br/>
+of smaller roof beams<br/>
+over round girders.
+</td>
+</tr>
+</table>
+
+<p>The final roof covering, composed of clay, is usually laid on very
+carefully and firmly, and, when the surface is unbroken, answers fairly
+well as a watershed. A&nbsp;slight slope or fall is given to the roof. This
+roof subserves every purpose of a front yard to the rooms that open upon
+it, and seems to be used exactly like the ground itself. Sheepskins are
+stretched and pegged out upon it for tanning or drying, and the
+characteristic Zuñi dome-shaped oven is frequently built upon it. In
+Zuñi generally upper rooms are provided only with a mud floor, although
+occasionally the method of paving with large thin slabs of stone is
+adopted. These are often somewhat irregular in form, the object being to
+have them as large as possible, so that considerable ingenuity is often
+displayed in selecting the pieces and in joining the irregular edges.
+This arrangement, similar to that of the kiva floors of Tusayan, is
+occasionally met with in the kivas.</p>
+
+<p>In making excavations at Kin-tiel, the floor of the ground room in
+which the circular door illustrated in <a href="#plateC">Pl. <span
+class="smallroman">C</span></a>, was found was paved with large,
+irregular fragments of stone, the thickness of which did not average
+more than an inch. Its floor, whose paving was all in place, was strewn
+with broken, irregular fragments similar in character, which must have
+been used as the flooring of an upper chamber.</p>
+
+<h6><a name="chapIV_4_3" id="chapIV_4_3">
+WALL COPINGS AND ROOF DRAINS.</a></h6>
+
+<p>In the construction of the typical pueblo house the walls are carried
+up to the height of the roof surface, and are then capped with a
+continuous protecting coping of thin flat stones, laid in close contact,
+their outer edges flush with the face of the wall. This arrangement is
+still the prevailing one at Tusayan, though there is an occasional
+example of the projecting coping that practically forms a cornice. This
+latter is the more usual form at Zuñi, though in the farming pueblos of
+Cibola
+<a name="page152" id="page152"> </a>
+it does not occur with any greater frequency than at Tusayan. The flush
+coping is in Tusayan made of the thinnest and most uniform specimens of
+building stone available, but these are not nearly so well adapted to
+the purpose as those found in the vicinity of Zuñi.</p>
+
+<p>Here the projecting stones are of singularly regular and symmetrical
+form, and receive very little artificial treatment. Their extreme
+thinness makes it easy to trim off the projecting corners and angles,
+reducing them to such a form that they can be laid in close contact.
+Thus laid they furnish an admirable protection against the destructive
+action of the violent rains. The stones are usually trimmed to a width
+corresponding to the thickness of the walls. Of course where a
+projecting cornice is built, it can be made, to some extent, to conform
+to the width of available coping stones. These can usually be procured,
+however, of nearly uniform width. In the case of the overhanging
+cornices the necessary projection is attained by continuing either the
+main roof beams, or sometimes the smaller poles of the second series,
+according to the position of the required cornice, for a foot or more
+beyond the outer face of the wall. Over these poles the roofing is
+continued as in ordinary roof construction with the exception that the
+edge of the earth covering is built of masonry, an additional precaution
+against its destruction by the rains. In many places the adobe
+plastering originally applied to the faces of these cornices, as well as
+to the walls, has been washed away, exposing the whole construction. In
+some of these instances the face of the cornice furnishes a complete
+section of the roof, in which all the series of its construction can be
+readily identified. The protective agency of these coping stones is well
+illustrated in <a href="#plateXCVII">Pl. <span class="smallroman">XCVII</span></a>, which shows the destructive effect of
+rain at a point where an open joint has admitted enough water to bare
+the masonry of the cornice face, eating through its coating of adobe,
+while at the firmly closed joint toward the left there has been no
+erosive action. The much larger proportion of projecting copings or
+cornices in Zuñi, as compared with Tusayan, is undoubtedly attributable
+to the universal smoothing of the walls with adobe, and to the more
+general use of this perishable medium in this village, and the
+consequent necessity for protecting the walls. The efficiency of this
+means of protecting the wall against the wear of weather is seen in the
+preservation of external whitewashing for several feet below such a
+cornice on the face of the walls. At the pueblo of Acoma a similar
+extensive use of projecting cornices is met with, particularly on the
+third story walls. Here again it is due to the use of adobe, which has
+been more frequently employed in the finish of the higher and newer
+portions of the village than in the lower terraces. As a rule these
+overhanging copings occur <ins class="correction"
+title="text reads ‘pricipally’">principally</ins>
+on the southern exposures of the
+buildings and on the terraced sides of house rows. When walls rise to
+the height of several stories directly from the ground, such as the back
+walls of house rows, they are not usually provided with this feature but
+are capped with flush copings.</p>
+
+<p class="illustration">
+<a name="plateXCVII" id="plateXCVII"> </a>
+<img src="images/plate97.jpg" width="452" height="291"
+alt="Zuñi oven"
+title="Zuñi oven" /></p>
+<p class="caption smallcaps">
+Plate XCVII. Wall coping and oven at Zuñi.</p>
+
+<p>
+<a name="page153" id="page153"> </a>
+The rapid and destructive erosion of the earthen roof covering must have
+early stimulated the pueblo architect to devise means for promptly
+distributing where it would do the least harm, the water which came upon
+his house. This necessity must have led to the early use of roof drains,
+for in no other way could the ancient builders have provided for the
+effectual removal of the water from the roofs and at the same time have
+preserved intact the masonry of the walls. Unfortunately we have no
+examples of such features in the ruined pueblos, for in the destruction
+or decay of the houses they are among the first details to be lost. The
+roof drain in the modern architecture becomes a very prominent feature,
+particularly at Zuñi.</p>
+
+<table class="figures" summary="illustrations">
+<tr>
+<td class="picture">
+<a name="fig39" id="fig39"> </a>
+<img src="images/fig39a.png" width="190" height="131"
+alt="roof drain"
+title="roof drain" /></td>
+<td class="picture">
+<img src="images/fig39b.png" width="191" height="137"
+alt="roof drain"
+title="roof drain" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2"><span class="smallcaps">Fig.
+39.</span>
+Single stone roof drains.
+</td>
+</tr>
+<tr>
+<td class="picture">
+<a name="fig40" id="fig40"> </a>
+<img src="images/fig40a.png" width="193" height="119"
+alt="roof drain"
+title="roof drain" /></td>
+<td class="picture">
+<img src="images/fig40b.png" width="208" height="158"
+alt="roof drain"
+title="roof drain" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2"><span class="smallcaps">Fig.
+40.</span>
+Trough roof drains of stone.
+</td>
+</tr>
+<tr>
+<td class="picture">
+<a name="fig41" id="fig41"> </a>
+<img src="images/fig41a.png" width="219" height="150"
+alt="roof drain"
+title="roof drain" /></td>
+<td class="picture">
+<img src="images/fig41b.png" width="213" height="207"
+alt="roof drain"
+title="roof drain" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2"><span class="smallcaps">Fig.
+41.</span>
+Wooden roof drains.
+</td>
+</tr>
+</table>
+
+<p>These drains are formed by piercing an opening through the thickness
+of the coping wall, at a point where the drainage from the roof would
+collect, the opening being made with a decided pitch and furnished with
+a spout or device of some kind to insure the discharge of the water
+beyond the face of the wall. These spouts assume a variety of forms.
+Perhaps the most common is that of a single long, narrow slab of stone,
+set at a suitable angle and of sufficient projection to throw the
+discharge clear of the wall. Fig. 39 illustrates
+drains of this type, No.&nbsp;1 being a Tusayan example and No.&nbsp;2 from Zuñi.
+It will be noted that the surrounding masonry of the former, as well as
+the stone itself, are much ruder than the Zuñi example. Another type of
+drain, not differing greatly from the preceding, is illustrated
+in Fig. 40. This form is a slight improvement on the
+single stone drain, as it is provided with side
+<a name="page154" id="page154"> </a>
+pieces which convert the device into a trough-like spout, and more
+effectually direct the discharge. No.&nbsp;1 is a Tusayan spout and No.&nbsp;2 a
+Zuñi example. Wooden spouts are also commonly used for this purpose.
+Fig. 41 illustrates an example from each province of
+this form of drain. These are usually made from small tree trunks, not
+exceeding 3&nbsp;or 4 inches in diameter, and are gouged out from one side.
+No tubular specimens of wooden spouts were seen. At Tusayan the builders
+have utilized stone of a concretionary formation for roof drains. The
+workers in stone could not wish for material more suitably fashioned for
+the purpose than these specimens. Two of these curious stone channels
+are illustrated in Fig. 42. Two more examples of
+Tusayan roof drains are illustrated in Fig. 43.
+The first of the latter shows the use of a discarded metate, or mealing
+stone, and the second of a gourd that has been walled into the
+coping.</p>
+
+<table class="figures" summary="illustrations">
+<tr>
+<td class="picture">
+<a name="fig42" id="fig42"> </a>
+<img src="images/fig42a.png" width="217" height="189"
+alt="roof drain"
+title="roof drain" /></td>
+<td class="picture">
+<img src="images/fig42b.png" width="211" height="170"
+alt="roof drain"
+title="roof drain" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2"><span class="smallcaps">Fig.
+42.</span>
+Curved roof drains of stone in Tusayan.
+</td>
+</tr>
+<tr>
+<td class="picture">
+<a name="fig43" id="fig43"> </a>
+<img src="images/fig43a.png" width="213" height="166"
+alt="roof drain"
+title="roof drain" /></td>
+<td class="picture">
+<img src="images/fig43b.png" width="221" height="186"
+alt="roof drain"
+title="roof drain" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2"><span class="smallcaps">Fig.
+43.</span>
+Tusayan roof drains; a&nbsp;discarded metate and a gourd.
+</td>
+</tr>
+</table>
+
+<p>
+<a name="page155" id="page155"> </a>
+It is said that tubes of clay were used at Awatubi in olden times for
+roof drains, but there remains no positive evidence of this. Three forms
+of this device are attributed to the people of that village. Some are
+said to have been made of wood, others of stone, and some again of
+sun-dried clay. The native explanation of the use in this connection of
+sun-dried clay, instead of the more durable baked product, was that the
+application of fire to any object that water passes through would be
+likely to dry up the rains. It was stated in this connection that at the
+present day the cobs of the corn used for planting are not burned until
+rain has fallen on the crop. If the clay spout described really existed
+among the people at Awatubi, it was likely to have been an innovation
+introduced by the Spanish missionaries. Among the potsherds picked up at
+this ruin was a small piece of coarsely made clay tube, which seemed to
+be too large and too roughly modeled to have been the handle of a ladle,
+which it roughly resembled, or to have belonged to any other known form
+of domestic pottery. As a roof drain its use would not accord with the
+restrictions referred to in the native account, as the piece had been
+burnt.</p>
+
+<p>In some cases in Zuñi where drains discharge from the roofs of upper
+terraces directly upon those below, the lower roofs and also the
+adjoining vertical walls are protected by thin tablets of stone, as
+shown in Fig. 44. It will be seen that one of
+these is placed upon the lower roof in such a position that the drainage
+falls directly upon it. Where the adobe roof covering is left
+unprotected its destruction by the rain is very rapid, as the showers of
+the rainy season in these regions, though usually of short duration, are
+often extremely violent. The force of the torrents is illustrated in the
+neighboring country. Here small ruts in the surface of the ground are
+rapidly converted into large arroyos. Frequently ordinary wagon tracks
+along a bit of valley slope serve as an initial channel to the rapidly
+accumulating waters and are eaten
+<a name="page156" id="page156"> </a>
+away in a few weeks so that the road becomes wholly impassable, and must
+be abandoned for a new one alongside.</p>
+
+<p class="illustration">
+<a name="fig44" id="fig44"> </a>
+<img src="images/fig44.png" width="437" height="311"
+alt="roof drain"
+title="roof drain" /></p>
+<p class="caption"><span class="smallcaps">Fig. 44.</span>
+Zuñi roof drain, with splash stones on roof below.</p>
+
+<p>The shiftlessness of the native builders in the use of the more
+convenient material brings its own penalty during this season in a
+necessity for constant watchfulness and frequent repairs to keep the
+houses habitable. One can often see in Zuñi where an inefficient drain
+or a broken coping has given the water free access to the face of a
+plastered wall, carrying away all its covering and exposing in a
+vertical space the jagged stones of the underlying masonry. It is
+noticeable that much more attention has been paid to protective devices
+at Zuñi than at Tusayan. This is undoubtedly due to the prevalent use of
+adobe in the former. This friable material must be protected at all
+vulnerable points with slabs of stone in order quickly to divert the
+water and preserve the roofs and walls from destruction.</p>
+
+<h6><a name="chapIV_4_4" id="chapIV_4_4">
+LADDERS AND STEPS.</a></h6>
+
+<p>In the inclosed court of the old fortress pueblos the first terrace
+was reached only by means of ladders, but the terraces or rooms above
+this were reached both by ladders and steps. The removal of the lower
+tier of ladders thus gave security against intrusion and attack. The
+builders of Tusayan have preserved this primitive arrangement in much
+greater purity than those of Cibola.</p>
+
+<p>In Zuñi numerous ladders are seen on every terrace, but the purpose
+of these, on the highest terraces, is not to provide access to the rooms
+of the upper story, which always have external doors opening on the
+terraces, but to facilitate repairs of the roofs. At Tusayan, on the
+<a name="page157" id="page157"> </a>
+other hand, ladders are of rare occurrence above the first terrace,
+their place being supplied by flights of stone steps. The relative
+scarcity of stone at Zuñi, suitable for building material, and its great
+abundance at Tusayan, undoubtedly account for this difference of usage,
+especially as the proximity of the timber supply of the Zuñi mountains
+to the former facilitates the substitution of wood for steps of
+masonry.</p>
+
+<p>The earliest form of ladder among the pueblos was probably a notched
+log, a&nbsp;form still occasionally used. Figures 45 and 46 illustrate
+examples of this type of ladder from Tusayan.</p>
+
+<table class="figures" summary="illustrations">
+<tr>
+<td class="picture">
+<a name="fig45" id="fig45"> </a>
+<img src="images/fig45.png" width="271" height="313"
+alt="notched ladder"
+title="notched ladder" /></td>
+<td class="picture">
+<a name="fig46" id="fig46"> </a>
+<img src="images/fig46a.png" width="48" height="245"
+alt="notched ladder"
+title="notched ladder" /></td>
+<td class="picture">
+<img src="images/fig46b.png" width="156" height="241"
+alt="notched ladder"
+title="notched ladder" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 45.</span>
+A modern notched ladder in Oraibi.
+</td>
+<td class="caption" colspan="2">
+<span class="smallcaps">Fig. 46.</span>
+Tusayan notched ladders from Mashongnavi.
+</td>
+</tr>
+</table>
+
+<p>
+<a name="page158" id="page158"> </a>
+A notched ladder from Oraibi, made with a modern axe, is shown. This
+specimen has a squareness of outline and an evenness of surface not
+observed in the ancient examples. The ladder from Mashongnavi,
+illustrated on the left of Fig. 46, closely
+resembles the Oraibi specimen, though the workmanship is somewhat ruder.
+The example illustrated on the right of the same figure is from Oraibi.
+This ladder is very old, and its present rough and weatherbeaten surface
+affords but little evidence of the character of the implement used in
+making&nbsp;it.</p>
+
+<p>The ladder having two poles connected by cross rungs is undoubtedly a
+native invention, and was probably developed through a series of
+improvements on the primitive notched type. It is described in detail in
+the earliest Spanish accounts. Fig. 47
+illustrates on the left the notched ladder, and on the right a typical
+two-pole ladder in its most primitive form. In this case the rungs are
+simply lashed to the uprights. The center ladder of the diagram is a
+Mandan device illustrated by Mr. Lewis H. Morgan.<a class="tag" name="tag6a" id="tag6a" href="#note6a">6</a> As used by the Mandans this
+ladder is placed with its forked end on the ground, the reverse of the
+Pueblo practice. It will readily be seen, on comparing these examples,
+that an elongation of the fork which occurs as a constant accompaniment
+of the notched ladder might eventually suggest a construction similar to
+that of the Mandan ladder reversed. The function of the fork on the
+notched ladder in steadying it when placed against the wall would be
+more effectually performed by enlarging this feature.</p>
+
+<table class="figures" summary="illustrations">
+<tr>
+<td class="picture">
+<a name="fig47" id="fig47"> </a>
+<img src="images/fig47a.png" width="64" height="308"
+alt="ladder"
+title="ladder" /></td>
+<td class="picture">
+<img src="images/fig47b.png" width="123" height="303"
+alt="ladder"
+title="ladder" /></td>
+<td class="picture">
+<img src="images/fig47c.png" width="115" height="301"
+alt="ladder"
+title="ladder" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="3">
+<span class="smallcaps">Fig. 47.</span>
+Aboriginal American forms of ladder.
+</td>
+</tr>
+</table>
+
+<p>
+<a name="page159" id="page159"> </a>
+At one stage in the development of the form of ladder in common use
+to-day the rungs were laid in depressions or notches of the vertical
+poles, resembling the larger notches of the single ladder, and then
+lashed on with thongs of rawhide or with other materials. Later, when
+the use of iron became known, holes were burned through the side poles.
+This is the nearly universal practice to-day, though some of the more
+skillful pueblo carpenters manage to chisel out rectangular holes. The
+piercing of the side poles, <ins class="correction"
+title="text reads ‘particulary’">particularly</ins>
+prevalent in Zuni, has brought
+about a curious departure from the ancient practice of removing the
+ladder in times of threatened danger. Long rungs are loosely slipped
+into the holes in the side pieces, and the security formerly gained by
+taking up the entire ladder is now obtained, partially at least, by the
+removal of the rungs. The boring of the side pieces and the employment
+of loose rungs seriously interferes with the stability of the structure,
+as means must be provided to prevent the spreading apart of the side
+pieces. The Zuni architect has met this difficulty by prolonging the
+poles of the ladder and attaching a cross piece near their upper ends to
+hold them together. As a rule this cross piece is provided with a hole
+near each end into which the tapering extremities of the poles are
+inserted. From their high position near the extremities of the ladders,
+seen in silhouette against the sky, they form peculiarly striking
+features of Zuni. They are frequently decorated with rude carvings of
+terraced notches. Examples of this device may be seen in the views of
+Zuni, and several typical specimens are illustrated in detail in <a href="#plateXCVIII">Pl.&nbsp;<span class="smallroman">XCVIII</span></a>.
+The use of cross pieces on ladders emerging from roof openings is not so
+common as on external ones, as there is not the same necessity for
+holding together the poles, the sides of the opening performing that
+office.</p>
+
+<p>There are two places in Zuni, portions of the densest house cluster,
+where the needs of unusual traffic have been met by the employment of
+double ladders, made of three vertical poles, which accommodate two
+tiers of rungs. The sticks forming the rungs are inserted in continuous
+lengths through all three poles, and the cross pieces at the top are
+also continuous, being formed of a single flat piece of wood perforated
+by three holes for the reception of the tips of the poles. In additional
+to the usual cross pieces pierced for the reception of the side poles
+and rudely carved into ornamental forms, many temporary cross pieces are
+added during the harvest season in the early autumn to support the
+strips of meat and melons, strings of red peppers, and other articles
+dried in the open air prior to storage for winter use. At this season
+every device that will serve this purpose is employed. Occasionally
+poles are seen extending across the reentering angles of a house or are
+supported on the coping and rafters. The projecting roof beams also are
+similarly utilized at this season.</p>
+
+<p>Zuni ladders are usually provided with about eight rungs, but a few
+have as many as twelve. The women ascend these ladders carrying ollas of
+water on their heads, children play upon them, and a few of the
+<a name="page160" id="page160"> </a>
+most expert of the numerous dogs that infest the village can clumsily
+make their way up and down them. As described in a previous section all
+houses built during the year are consecrated at a certain season, and
+among other details of the ceremonial, certain rites, intended to
+prevent accidents to children, etc., are performed at the foot of the
+ladders.</p>
+
+<p>In Tusayan, where stone is abundant, the ladder has not reached the
+elaborate development seen in Zuñi. The perforated cross piece is rarely
+seen, as there is little necessity for its adoption. The side poles are
+held together by the top and bottom rungs, which pass entirely through
+the side pieces and are securely fixed, while the ends of the others are
+only partly embedded in the side pieces. In other cases (<a href="#plateXXXII">Pl. <span class="smallroman">XXXII</span></a>) the poles
+are rigidly held in place by ropes or rawhide lashings.</p>
+
+<p>Short ladders whose side poles are but little prolonged beyond the
+top rung are of common occurrence, particularly in Oraibi. Three such
+ladders are shown in <a href="#plateLXXXIV">Pl. <span class="smallroman">LXXXIV</span></a>. A&nbsp;similar example may be seen in
+<a href="#plateCVII">Pl. <span class="smallroman">CVII</span></a>,
+in connection with a large opening closed with rough masonry. In these
+cases the rungs are made to occupy slight notches or depressions in the
+upright poles and are then firmly lashed with rawhide, forming a fairly
+rigid structure. This type of ladder is probably a survival of the
+earliest form of the pueblo ladder.</p>
+
+<p class="illustration">
+<a name="plateXCVIII" id="plateXCVIII"> </a>
+<img src="images/plate98.jpg" width="272" height="448"
+alt="ladder cross-pieces"
+title="ladder cross-pieces" /></p>
+<p class="caption smallcaps">
+Plate XCVIII. Cross-pieces on Zuñi ladders.</p>
+
+<p>In addition to the high cross piece whose function is to retain in
+place the vertical poles, the kiva ladders are usually provided, both in
+Zuñi and Tusayan, with a cross piece consisting of a round stick tied to
+the uprights and placed at a uniform height above the kiva roof. This
+stick affords a handhold for the marked dancers who are often encumbered
+with ceremonial paraphernalia as they enter the kiva. In the case of the
+Oraibi kiva occupying the foreground of <a href="#plateXXXVIII">Pl.
+<span class="smallroman">XXXVIII</span></a>, it may be seen that this
+handhold cross piece is inserted into holes in the side poles, an
+exception to the general practice. In <a href="#plateLXXXVII">Pl.
+<span class="smallroman">LXXXVII</span></a>, illustrating kivas, the
+position of this feature will be seen.</p>
+
+<p class="illustration">
+<a name="plateXCIX" id="plateXCIX"> </a>
+<img src="images/plate99.png" width="436" height="257"
+alt="outside steps"
+title="outside steps" /></p>
+<p class="caption smallcaps">
+Plate XCIX. Outside steps at Pescado.</p>
+
+<p>The exceptional mode of access to Tusayan kiva hatchways by means of
+short nights of stone steps has already been noticed. In several
+instances the top steps of these short flights cover the thickness of
+the wall. The remains of a similar stairway were observed in Pueblo
+Bonito, where it evidently reached directly from the ground to an
+external doorway. Access by such means, however, is a departure from the
+original defensive idea.</p>
+
+<p class="illustration">
+<a name="fig48" id="fig48"> </a>
+<img src="images/fig48.png" width="373" height="327"
+alt="stone steps"
+title="stone steps" /></p>
+<p class="caption"><span class="smallcaps">Fig. 48.</span>
+Stone steps at Oraibi, with platform at corner.</p>
+
+<p>Modern practice in Zuñi has departed more widely from the primitive
+system than at Tusayan. In the former pueblo short nights of stone steps
+giving access to doors raised but a short distance above the ground are
+very commonly seen. Even in the small farming pueblo of Pescado two
+examples of this arrangement are met with. <a href="#plateXCIX">Pl.
+<span class="smallroman">XCIX</span></a> illustrates one of these
+found on the north outside wall. In the general views of the Tusayan
+villages the closer adherence to primitive methods is
+<a name="page161" id="page161"> </a>
+clearly indicated, although the modern compare very unfavorably with the
+ancient examples in precision of execution. <a href="#plateXXXII">Pl.
+<span class="smallroman">XXXII</span></a> illustrates two flights of
+stone steps of Shupaulovi. In many cases the workmanship of these stone
+steps does not surpass that seen in the Walpi trail, illustrated in <a
+href="#plateXXV">Pl. <span class="smallroman">XXV</span></a>.</p>
+
+<p class="illustration">
+<a name="fig49" id="fig49"> </a>
+<img src="images/fig49.png" width="434" height="303"
+alt="stone steps"
+title="stone steps" /></p>
+<p class="caption"><span class="smallcaps">Fig. 49.</span>
+Stone steps, with platform at chimney, in Oraibi.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig50" id="fig50"> </a>
+<img src="images/fig50.png" width="294" height="296"
+alt="stone steps"
+title="stone steps" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 50.</span>
+Stone steps in Shumopavi.
+</td>
+</tr>
+</table>
+
+<p>
+<a name="page162" id="page162"> </a>
+Perhaps in no one detail of pueblo construction are the careless and
+shiftless modern methods so conspicuous as in the stone steps of the
+upper terraces of Tusayan. Here are seen many awkward makeshifts by
+means of which the builders have tried to compensate for their lack of
+foresight in planning. The absence of a definite plan for a house
+cluster of many rooms, already noted in the discussion of dwelling-house
+construction, is rendered conspicuous by the manner in which the stone
+stairways are used. Figs. <a href="#fig48">48</a> and 49 illustrate
+stone steps on upper terraces in Oraibi. In
+both cases the steps have been added long after the rooms against which
+they abut were built. In order to conform to the fixed requirement of
+placing such means of access at the corners of the upper rooms, the
+builders constructed a clumsy platform to afford passage around the
+previously built chimney. Fig. 50 shows the
+result of a similar lack of foresight. The upper portion of the flight,
+consisting of three steps, has been abruptly turned at right angles to
+the main flight, and is supported upon rude poles and beams. The
+restriction of this feature to the corners of upper rooms where they
+were most likely to conflict with chimneys is undoubtedly a survival of
+ancient practice, and due to the necessary vertical alignment of walls
+and masonry in this primitive construction.</p>
+
+<h6><a name="chapIV_4_5" id="chapIV_4_5">
+COOKING PITS AND OVENS.</a></h6>
+
+<p>Most of the cooking of the ancient Pueblos was probably done out of
+doors, as among the ruins vestiges of cooking pits, almost identical in
+<a name="page163" id="page163"> </a>
+character with those still found in Tusayan, are frequently seen. In
+Cibola the large dome-shaped ovens, common to the Pueblos of the Rio
+Grande and to their Mexican neighbors are in general use. In Tusayan a
+few examples of this form of oven occur upon the roofs of the terraces,
+while the cooking pit in a variety of forms is still extensively
+used.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig51" id="fig51"> </a>
+<img src="images/fig51.png" width="233" height="71"
+alt="cooking pits"
+title="cooking pits" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 51.</span>
+A series of<br/>
+cooking pits in Mashongnavi.
+</td>
+</tr>
+</table>
+
+<p>The distribution of the dome-shaped ovens in Cibola and in Tusayan
+may be seen on the ground plans in Chapters <a href="#chapIII"><span
+class="smallroman">III</span></a> and <a href="#chapIV"><span class="smallroman">IV</span></a>. The simplest form of cooking pit, still
+commonly used in Tusayan, consists of a depression in the ground, lined
+with a coating of mud. The pit is usually of small size and is commonly
+placed at some little distance from the house; in a few cases it is
+located in a sheltered corner of the building. Fig.
+51 illustrates a series of three such primitive ovens built against
+a house wall, in a low bench or ledge of masonry raised 6&nbsp;inches above
+the ground; the holes measure about a foot across and are about 18 or 20
+inches deep. Many similar pits occur in the Tusayan villages; some of
+them are walled in with upright stone slabs, whose rough edges project 6
+or 8 inches above the ground, the result closely resembling the ancient
+form of in-door fireplace, such as that seen in a room of Kin-tiel.
+(Pl.&nbsp;<span class="smallroman">C</span>.)</p>
+
+<p class="illustration">
+<a name="plateC" id="plateC"> </a>
+<img src="images/plate100.png" width="459" height="270"
+alt="Kin-tiel room"
+title="Kin-tiel room" /></p>
+<p class="caption smallcaps">
+Plate C. An excavated room at Kin-tiel.</p>
+
+<p>In its perfected form the cooking pit in Tusayan takes the place of
+the more elaborate oven used in Zuñi. Figs. 52
+and 53 show two specimens of pits used for the
+preparation of pi-gummi, a&nbsp;kind of baked mush.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture" colspan="2">
+<a name="fig52" id="fig52"> </a>
+<img src="images/fig52.png" width="296" height="142"
+alt="pi-gummi ovens"
+title="pi-gummi ovens" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2">
+<span class="smallcaps">Fig. 52.</span>
+Pi-gummi ovens of Mashongnavi.
+</td>
+</tr>
+<tr>
+<td class="picture">
+<a name="fig53" id="fig53"> </a>
+<img src="images/fig53a.png" width="139" height="109"
+alt="pi-gummi oven"
+title="pi-gummi oven" /></td>
+<td class="picture">
+<img src="images/fig53b.png" width="141" height="100"
+alt="pi-gummi oven"
+title="pi-gummi oven" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2"><span class="smallcaps">Fig.
+53.</span>
+Cross sections of<br/>
+pi-gummi ovens of Mashongnavi.
+</td>
+</tr>
+</table>
+
+<p>
+<a name="page164" id="page164"> </a>
+These occur on the east side of Mashongnavi. They project 6 or 8 inches
+above the ground, and have a depth of from 18 to 24 inches. The débris
+scattered about the pits indicates the manner in which they are covered
+with slabs of stone and sealed with mud when in use. In all the oven,
+devices of the pueblos the interior is first thoroughly heated by a long
+continued fire within, the structure. When the temperature is
+sufficiently high the ashes and dirt are cleaned out, the articles to be
+cooked inserted, and the orifices sealed. The food is often left in
+these heated receptacles for 12 hours or more, and on removal it is
+generally found to be very nicely cooked. Each of the pi-gummi ovens
+illustrated above is provided with a tube-like orifice 3&nbsp;or 4 inches in
+diameter, descending obliquely from the ground level into the cavity.
+Through this opening the fire is arranged and kept in order, and in this
+respect it seems to be the counterpart of the smaller hole of the Zuñi
+dome-shaped ovens. When the principal opening, by which the vessel
+containing the pi-gummi or other articles is introduced, has been
+covered with a slab of stone and sealed with mud, the effect is similar
+to that of the dome-shaped oven when the ground-opening or doorway is
+hermetically closed.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig54" id="fig54"> </a>
+<img src="images/fig54a.png" width="262" height="190"
+alt="foundation stones of oven"
+title="foundation stones of oven" /></td>
+</tr>
+<tr>
+<td class="picture">
+<img src="images/fig54b.png" width="183" height="179"
+alt="foundation stones of oven"
+title="foundation stones of oven" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2">
+<span class="smallcaps">Fig. 54.</span>
+Diagram showing<br/>
+foundation stones<br/>
+of a Zuñi oven.
+</td>
+</tr>
+</table>
+
+<p>No example of the dome-shaped oven of pre-Columbian origin has been
+found among the pueblo ruins, although its prototype probably existed in
+ancient times, possibly in the form of a kiln for baking a fine quality
+of pottery formerly manufactured. However, the cooking pit alone,
+developed to the point of the pi-gummi oven of Tusayan, may have been
+the stem upon which the foreign idea was engrafted. Instances of the
+complete adoption by these conservative people of a wholly foreign idea
+or feature of construction are not likely to be found, as improvements
+are almost universally confined to the mere modification of existing
+devices. In the few instances in which more radical changes are
+attempted the resulting forms bear evidence of the fact.</p>
+
+<p>In Cibola the construction of a dome-shaped oven is begun by laying
+out roughly a circle of flat stones as a foundation. Upon these the
+<a name="page165" id="page165"> </a>
+upper structure is rudely built of stones laid in the mud and
+approximately in the courses, though often during construction one side
+will be carried considerably higher than another. The walls curve inward
+to an apparently unsafe degree, but the mud mortar is often allowed to
+partly dry before carrying the overhanging portion so far as to endanger
+the structure, and accidents rarely happen. The oven illustrated in <a
+href="#plateXCVII">Pl. <span class="smallroman">XCVII</span></a>
+shows near its broken doorway the arrangement of foundation stones
+referred to. Typical examples of the dome oven occur in the foreground
+of the general view of Zuñi shown in <a href="#plateLXXVIII">Pl. <span
+class="smallroman">LXXVIII</span></a>.</p>
+
+<p class="illustration">
+<a name="fig55" id="fig55"> </a>
+<img src="images/fig55.png" width="440" height="313"
+alt="oven"
+title="oven" /></p>
+<p class="caption"><span class="smallcaps">Fig. 55.</span>
+Dome-shaped oven on a plinth of masonry.</p>
+
+<p>The dome ovens of Cibola are generally smoothly plastered, inside and
+out, but a few examples are seen in which the stones of the masonry are
+exposed. In. <a href="#plateXCIX">Pl. <span class="smallroman">XCIX</span></a> may be seen two ovens differing in size,
+one of which shows the manner in which the opening is blocked up with
+stone to keep out stray dogs during periods of disuse. <a href="#fig55">Fig. 55</a> illustrates a mud-plastered oven at Pescado, which
+is elevated about a foot above the ground on a base or plinth of
+masonry. The opening of this oven is on the side toward the houses. This
+form is quite exceptional in Cibola, though of frequent occurrence among
+the Rio Grande pueblos. A&nbsp;very large and carefully finished example was
+examined at Jemez.</p>
+
+<p class="illustration">
+<a name="fig56" id="fig56"> </a>
+<img src="images/fig56.png" width="438" height="269"
+alt="oven"
+title="oven" /></p>
+<p class="caption"><span class="smallcaps">Fig. 56.</span>
+Oven in Pescado exposing stones of masonry.</p>
+
+<p>
+<a name="page166" id="page166"> </a>
+</p>
+
+<p>Figs. 56 and 57
+illustrate two specimens of rough masonry ovens seen at Pescado. In one
+of these a decided horizontal arrangement of the stones in the masonry
+prevails. The specimen at the right is small and rudely constructed,
+showing but little care in the use of the building material. The few
+specimens of dome ovens seen in Tusayan are characterized by the same
+rudeness of construction noticed in their house masonry. The rarity of
+this oven at Tusayan, where so many of the constructions have retained a
+degree of primitiveness not seen elsewhere, is perhaps an additional
+evidence of its foreign origin.</p>
+
+<p class="illustration">
+<a name="fig57" id="fig57"> </a>
+<img src="images/fig57.png" width="416" height="274"
+alt="oven"
+title="oven" /></p>
+<p class="caption"><span class="smallcaps">Fig. 57.</span>
+Oven in Pescado exposing stones of masonry.</p>
+
+<p>
+<a name="page167" id="page167"> </a>
+</p>
+
+<h6><a name="chapIV_4_6" id="chapIV_4_6">
+OVEN-SHAPED STRUCTURES.</a></h6>
+
+<p>In Tusayan, there are other structures, of rude dome-shape, likely to
+be mistaken for some form of cooking device. Fig.
+58 illustrates two specimens of shrines that occur in courts of
+Mashongnavi. These are receptacles for plume sticks (bahos) and other
+votive offerings used at certain festivals, which, after being so used,
+are sealed up with stone slabs and adobe. These shrines occur at several
+of the villages, as noted in the discussion of the plans in Chapter
+<span class="smallroman">III</span>. In the foreground of <a href="#plateXXXVIII">Pl. <span class="smallroman">XXXVIII</span></a> may be
+seen an Oraibi specimen somewhat resembling those seen at
+Mashongnavi.</p>
+
+<table class="figures" summary="illustrations">
+<tr>
+<td class="picture">
+<a name="fig58" id="fig58"> </a>
+<img src="images/fig58a.png" width="205" height="97"
+alt="shrine" title="shrine" /></td>
+<td class="picture">
+<img src="images/fig58b.png" width="216" height="69"
+alt="poultry house" title="poultry house" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2">
+<span class="smallcaps">Fig. 58.</span>
+Shrines in Mashongnavi.
+</td>
+</tr>
+<tr>
+<td class="picture" colspan="2">
+<a name="fig59" id="fig59"> </a>
+<img src="images/fig59.png" width="355" height="236"
+alt="shrine" title="shrine" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2">
+<span class="smallcaps">Fig. 59.</span>
+A poultry house in Sichumovi resembling an oven.
+</td>
+</tr>
+</table>
+
+<p>Fig. 59 illustrates a very rude structure of
+stones in Sichumovi, resembling in form a dome oven, which is used as a
+poultry house. Several of these are seen in the Tusayan villages.</p>
+
+<h6><a name="chapIV_4_7" id="chapIV_4_7">
+FIREPLACES AND CHIMNEYS.</a></h6>
+
+<p>The original fireplace of the ancient pueblo builders was probably
+the simple cooking pit transferred to a position within the dwelling
+room, and employed for the lighter cooking of the family as well as for
+warming
+<a name="page168" id="page168"> </a>
+the dwelling. It was placed in the center of the floor in order that the
+occupants of the house might conveniently gather around it. One of the
+first improvements made in this shallow indoor cooking pit must have
+consisted in surrounding it with a wall of sufficient height to protect
+the fire against drafts, as seen in the outdoor pits of Tusayan. In
+excavating a room in the ancient pueblo of Kin-tiel, a&nbsp;completely
+preserved fireplace, about a foot deep, and walled in with thin slabs of
+stone set on edge, was brought to light. The depression had been
+hollowed out of the solid rock.</p>
+
+<p>This fireplace, together with the room in which it was found, is
+illustrated in <a href="#plateC">Pl. <span class="smallroman">C</span></a> and Fig. 60. It is of
+rectangular form, but other examples have been found which are circular.
+Mr. W.&nbsp;H. Jackson describes a fireplace in a cliff dwelling in
+“Echo Cave” that consisted of a circular, basin-like depression 30
+inches across and 10 inches deep. Rooms furnishing evidence that fires
+were made in the corners against the walls are found in many cliff
+dwellings; the smoke escaped overhead, and the blackened walls afford no
+trace of a chimney or flue of any kind.</p>
+
+<p class="illustration">
+<a name="fig60" id="fig60"> </a>
+<img src="images/fig60.png" width="389" height="307"
+alt="Kin-tiel room"
+title="Kin-tiel room" /></p>
+<p class="caption"><span class="smallcaps">Fig. 60.</span>
+Ground plan of an excavated room in Kin-tiel.</p>
+
+<p>The pueblo chimney is undoubtedly a post-Spanish feature, and the
+best forms in use at the present time are probably of very recent
+origin, though they are still associated with fireplaces that have
+departed little from the aboriginal form seen at Kin-tiel and elsewhere.
+It is interesting to note, in this connection, that the ceremony
+consecrating the house is performed in Tusayan before the chimney is
+added, suggesting that the latter feature did not form a part of the
+aboriginal dwelling.</p>
+
+<p>
+<a name="page169" id="page169"> </a>
+In Cibola a few distinct forms of chimney are used at the present time,
+but in the more remote Tusayan the chimney seems to be still in the
+experimental stage. Numbers of awkward constructions, varying from the
+ordinary cooking pit to the more elaborate hooded structures, testify to
+the chaotic condition of the chimney-building art in the latter
+province.</p>
+
+<p>Before the invention of a chimney hood, and while the primitive
+fireplace occupied a central position in the floor of the room, the
+smoke probably escaped through the door and window openings. Later a
+hole in the roof provided an exit, as in the kivas of to-day, where
+ceremonial use has perpetuated an arrangement long since superseded in
+dwelling-house construction. The comfort of a dwelling room provided
+with this feature is sufficiently attested by the popularity of the
+modern kivas as a resort for the men. The idea of a rude hood or flue to
+facilitate the egress of the smoke would not be suggested until the
+fireplace was transferred from the center of a room to a corner, and in
+the first adoption of this device the builders would rely upon the
+adjacent walls for the needed support of the constructional members.
+Practically all of the chimneys of Tusayan are placed in corners at the
+present time, though the Zuñi builders have developed sufficient skill
+to construct a rigid hood and flue in the center of a side wall, as may
+be seen in the view of a Zuñi interior, <a href="#plateLXXXVI">Pl.
+<span class="smallroman">LXXXVI</span></a>.</p>
+
+<p>Although the pueblo chimney owes its existence to foreign suggestion
+it has evidently reached its present form through a series of timid
+experiments, and the proper principles of its construction seem to have
+been but feebly apprehended by the native builders, particularly in
+Tusayan. The early form of hood, shown in <a href="#fig66">Fig.&nbsp;66</a>, was made by placing a short supporting pole
+across the corner of a room at a sufficient distance from the floor and
+upon it arranging sticks to form the frame work of a contracting hood or
+flue. The whole construction was finally covered with a thick coating of
+mud. This primitive wooden construction has probably been in use for a
+long time, although it was modified in special cases so as to extend
+across the entire width of narrow rooms to accommodate “piki” stones or
+other cumbersome cooking devices. It embodies the principle of roof
+construction that must have been employed in the primitive house from
+which the pueblo was developed, and practically constitutes a miniature
+conical roof suspended over the fireplace and depending upon the walls
+of the room for support. On account of the careful and economical use of
+fuel by these people the light and inflammable material of which the
+chimney is constructed does not involve the danger of combustion that
+would be expected. The perfect feasibility of such use of wood is well
+illustrated in some of the old log-cabin chimneys in the Southern
+States, where, however, the arrangement of the pieces is horizontal, not
+vertical. These latter curiously exemplify also the use of a miniature
+section of house construction to form a conduit for the smoke, placed at
+a sufficient height to admit of access to the fire.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig61" id="fig61"> </a>
+<img src="images/fig61.png" width="243" height="300"
+alt="chimney hood"
+title="chimney hood" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 61.</span>
+A corner chimney hood<br/>
+with two supporting poles<br/>
+(Tusayan).
+</td>
+</tr>
+</table>
+
+<p>
+<a name="page170" id="page170"> </a>
+A further improvement in the chimney was the construction of a corner
+hood support by means of two short poles instead of a single piece, thus
+forming a rectangular smoke hood of enlarged capacity. This latter is
+the most common form in use at the present time in both provinces, but
+its arrangement in Tusayan, where it represents the highest achievement
+of the natives in chimney construction, is much more varied than in
+Cibola. In the latter province the same form is occasionally executed in
+stone. Fig. 61 illustrates a corner hood, in
+which the crossed ends of the supporting poles are exposed to view. The
+outer end of the lower pole is supported from the roof beams by a cord
+or rope, the latter being embedded in the mud plastering with which the
+hood is finished. The vertically ridged character of the surface reveals
+the underlying construction, in which light sticks have been used as a
+base for the plaster. The Tusayans say that large sunflower stalks are
+preferred for this purpose on account of their lightness. Figs. <a href="#fig63">63</a> and <a href="#fig64">64</a> show another Tusayan
+hood of the type described, and in <a href="#fig69">Fig.&nbsp;69</a> a
+large hood of the same general form, suspended over a piki-stone, is
+noticeable for the frank treatment of the suspending cords, which are
+clearly exposed to view for nearly their entire length.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig62" id="fig62"> </a>
+<img src="images/fig62.png" width="189" height="336"
+alt="chimney hood"
+title="chimney hood" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 62.</span>
+A curved chimney<br/>
+hood of Mashongnavi.
+</td>
+</tr>
+</table>
+
+<p>In a chimney in a Mashongnavi house, illustrated in Fig. 62,
+a&nbsp;simple, sharply curved piece of wood has been
+used for the lower rim of this hood, thus obtaining all the capacity of
+the two-poled form. The vertical sticks in this example are barely
+discernible through the plastering, which has been applied with more
+than the usual degree of care.</p>
+
+<p>
+<a name="page171" id="page171"> </a>
+A curious example illustrating a rudimentary form of two-poled hood is
+shown in Fig. 63. A&nbsp;straight pole of unusual
+length is built into the walls across the corner of a room, and its
+insertion into the wall is much farther from the corner on one side than
+the other. From the longer stretch of inclosed wall protrudes a short
+pole that joins the principal one and serves as a support for one side
+of the chimney-hood. In this case the builder appears to have been too
+timid to venture on the bolder construction required in the perfected
+two-poled hood. This example probably represents a stage in the
+development of the higher form.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig63" id="fig63"> </a>
+<img src="images/fig63.png" width="314" height="335"
+alt="chimney hood"
+title="chimney hood" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 63.</span>
+A Mashongnavi chimney hood<br/>
+and walled up fireplace.
+</td>
+</tr>
+</table>
+
+<p>In some instances the rectangular corner hood is not suspended from
+the ceiling, but is supported from beneath by a stone slab or a piece of
+wood. Such a chimney hood seen in a house of Shupaulovi measures nearly
+4 by 5 feet. The short side is supported by two stone slabs built into
+the wall and extending from the hood to the floor. Upon the upper stone
+rests one end of the wooden lintel supporting the long side, while the
+other end, near the corner of the room, is held in position by a light
+crotch of wood. Fig. 64 illustrates this hood;
+the plan indicating the relation of the stones and the forked stick to
+the corner of the room. <a href="#fig71">Fig. 71</a>, illustrating a
+terrace fireplace and chimney of Shumopavi, shows the employment of
+similar supports.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig64" id="fig64"> </a>
+<img src="images/fig64.png" width="251" height="225"
+alt="chimney hood"
+title="chimney hood" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 64.</span>
+A chimney hood<br/>
+of Shupaulovi.
+</td>
+</tr>
+</table>
+
+<p>Corner chimney hoods in Zuñi do not differ essentially from the more
+symmetrical of the Tusayan specimens, but they are distinguished by
+<a name="page172" id="page172"> </a>
+better finish, and by less exposure of the framework, having been, like
+the ordinary masonry, subjected to an unusually free application of
+adobe.</p>
+
+<p>The builders of Tusayan appear to have been afraid to add the
+necessary weight of mud mortar to produce this finished effect, the
+hoods usually showing a vertically ridged or crenated surface, caused by
+the sticks of the framework showing through the thin mud coat. Stone
+also is often employed in their construction, and its use has developed
+a large, square-headed type of chimney unknown at Tusayan. This is
+illustrated in Fig. 65. This form of hood,
+projecting some distance beyond its flue, affords space that may be used
+as a mantel-shelf, an advantage gained only to a very small degree by
+the forms discussed above. This chimney, as before stated, is built
+against one of the walls of a room, and near the middle.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig65" id="fig65"> </a>
+<img src="images/fig65.png" width="128" height="190"
+alt="chimney hood"
+title="chimney hood" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 65.</span>
+A semi-detached<br/>
+square chimney hood<br/>
+of Zuñi.
+</td>
+</tr>
+<tr>
+<td class="picture">
+<a name="fig66" id="fig66"> </a>
+<img src="images/fig66a.png" width="126" height="115"
+alt="chimney hood"
+title="chimney hood" /></td>
+</tr>
+<tr>
+<td class="picture">
+<img src="images/fig66b.png" width="138" height="128"
+alt="chimney hood"
+title="chimney hood" /></td>
+</tr>
+<tr>
+<td class="caption" colspan="2">
+<span class="smallcaps">Fig. 66.</span>
+Unplastered Zuñi<br/>
+chimney hoods,<br/>
+illustrating construction.
+</td>
+</tr>
+</table>
+
+<p>All the joints of these hoods, and even the material used, are
+generally concealed from view by a carefully applied coating of plaster,
+supplemented by a gypsum wash, and usually there is no visible evidence
+of the manner in which they are built, but the construction is little
+superior to that of the simple corner hoods. The method of framing the
+various types of hoods is illustrated in Fig. 66.
+The example on the left shows an unplastered wooden hood skeleton. The
+arrangement of the parts in projecting rectangular stone hoods is
+illustrated in the right-hand diagram of the figure. In constructing
+such a chimney a thin buttress is first built against the wall of
+sufficient width and
+<a name="page173" id="page173"> </a>
+height to support one side of the hood. The opposite side of the hood is
+supported by a flat stone, firmly set on edge into the masonry of the
+wall. The front of the hood is supported by a second flat stone which
+rests at one end on a rude shoulder in the projecting slab, and at the
+other end upon the front edge of the buttress. It would be quite
+practicable for the pueblo builders to form a notch in the lower corner
+of the supported stone to rest firmly upon a projection of the
+supporting stone, but in the few cases in which the construction could
+be observed no such treatment was seen, for they depended mainly on the
+interlocking of the ragged ends of the stones. This structure serves to
+support the body of the flue, usually with an intervening stone-covered
+space forming a shelf. At the present period the flue is usually built
+of thin sandstone slabs, rudely adjusted to afford mutual support. The
+whole structure is bound together and smoothed over with mud plastering,
+and is finally finished with the gypsum wash, applied also to the rest
+of the room. Mr. A.&nbsp;F. Bandelier describes “a regular chimney, with
+mantel and shelf, built of stone slabs,” which he found “in the caves of
+the Rito de los Frijoles, as well as in the cliff dwellings of the
+regular detached family house type,”<a class="tag" name="tag7a" id="tag7a" href="#note7a">7</a> which, from the description, must have
+closely resembled the Zuñi chimney described above. Houses containing
+such devices may be quite old, but if so they were certainly reoccupied
+in post-Spanish times. Such dwellings are likely to have been used as
+places of refuge in times of danger up to a comparatively recent
+date.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig67" id="fig67"> </a>
+<img src="images/fig67.png" width="317" height="338"
+alt="fireplace"
+title="fireplace" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 67.</span>
+A fireplace and mantel in Sichumovi.
+</td>
+</tr>
+</table>
+
+<p>Among the many forms of chimneys and fireplaces seen in Tusayan a
+curious approach to our own arrangement of fireplace and mantel was
+noticed in a house in Sichumovi. In addition to the principal mantel
+ledge, a&nbsp;light wooden shelf was arranged against the wall on one side of
+the flue, one of its ends being supported by an upright piece of wood
+with a cap, and the other resting on a peg driven into the wall. This
+fireplace and mantel is illustrated in Fig.&nbsp;67.</p>
+
+<p>Aside from the peculiar “guyave” or “piki” baking oven, there is but
+little variation in the form of indoor fireplaces in Cibola, while in
+Tusayan it appears to have been subjected to about the same mutations
+<a name="page174" id="page174"> </a>
+already noted in the outdoor cooking pits. A&nbsp;serious problem was
+encountered by the Tusayan builder when he was called upon to construct
+cooking-pit fireplaces, a&nbsp;foot or more deep, in a loom of an upper
+terrace. As it was impracticable to sink the pit into the floor, the
+necessary depth was obtained by walling up the sides, as is shown in
+Fig. 68, which illustrates a second-story fireplace
+in Mashongnavi. Other examples may be seen in the outdoor chimneys shown
+in Figs. <a href="#fig72">72</a> and <a href="#fig73">73</a>.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig68" id="fig68"> </a>
+<img src="images/fig68.png" width="187" height="215"
+alt="fireplace"
+title="fireplace" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 68.</span>
+A second-story<br/>
+fireplace in Mashongnavi.
+</td>
+</tr>
+</table>
+
+<p>
+<a name="page175" id="page175"> </a>
+A modification of the interior fireplace designed for cooking the thin,
+paper-like bread, known to the Spanish-speaking peoples of this region
+as “guyave,” and by the Tusayan as “piki,” is common to both Cibola and
+Tusayan, though in the former province the contrivance is more carefully
+constructed than in the latter, and the surface of the baking stone
+itself is more highly finished. In the guyave oven a tablet of carefully
+prepared sandstone is supported in a horizontal position by two slabs
+set on edge and firmly imbedded in the floor. A&nbsp;horizontal flue is thus
+formed in which the fire is built. The upper stone, whose surface is to
+receive the thin guyave batter, undergoes during its original
+preparation a certain treatment with fire and piñon gum, and perhaps
+other ingredients, which imparts to it a highly polished black finish.
+This operation is usually performed away from the pueblo, near a point
+where suitable stone is found, and is accompanied by a ceremonial, which
+is intended to prevent the stone from breaking on exposure to the fire
+when first used. During one stage of these rites the strictest silence
+is enjoined, as, according to the native account, a&nbsp;single word spoken
+at such a time would crack the tablet.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig69" id="fig69"> </a>
+<img src="images/fig69.png" width="274" height="280"
+alt="chimney hood"
+title="chimney hood" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 69.</span>
+Piki stone and<br/>
+chimney hood in Sichumovi.
+</td>
+</tr>
+</table>
+
+<p>When the long guyave stone is in position upon the edges of the back
+and front stones the fire must be so applied as to maintain the stone at
+a uniform temperature. This is done by frequent feeding with small bits
+of sage brush or other fuel. The necessity for such economy in the use
+of fuel has to a certain extent affected the forms of all the heating
+and cooking devices. Fig. 69 illustrates a
+Sichumovi piki stone, and Fig. 70 shows the use
+of the oven in connection with a cooking fireplace, a&nbsp;combination that
+is not uncommon. The latter example
+<a name="page176" id="page176"> </a>
+is from Shumopavi. The illustration shows an interesting feature in the
+use of a primitive andiron or boss to support the cooking pot in
+position above the fire. This boss is modeled from the same clay as the
+fireplace floor and is attached to it and forms a part of it. Mr.
+Stephen has collected free specimens of these primitive props which had
+never been attached to the floor. These were of the rudely conical form
+illustrated in the figure, and were made of a coarsely mixed clay
+thoroughly baked to a stony hardness.</p>
+
+<p class="illustration">
+<a name="fig70" id="fig70"> </a>
+<img src="images/fig70.png" width="433" height="391"
+alt="Piki stone and andiron"
+title="Piki stone and andiron" /></p>
+<p class="caption"><span class="smallcaps">Fig. 70.</span>
+Piki stone and primitive andiron in Shumopavi.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig71" id="fig71"> </a>
+<img src="images/fig71.png" width="308" height="317"
+alt="terrace fireplace and chimney"
+title="terrace fireplace and chimney" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 71.</span>
+A terrace fireplace<br/>
+and chimney of Shumopavi.
+</td>
+</tr>
+</table>
+
+<p>Chimneys and fireplaces are often found in Tusayan in the small,
+recessed, balcony-like rooms of the second terrace. When a deep
+cooking-pit is required in such a position, it is obtained by building
+up the sides, as in the indoor fireplaces of upper rooms. Such a
+fireplace is illustrated in Fig. 71. A&nbsp;roofed
+recess which usually occurs at one end of the first terrace, called
+“tupubi,” takes its name from the flat piki oven, the variety of
+fireplace generally built in these alcoves. The transfer of the
+fireplace from the second-story room to the corner of such a
+roofed-terrace alcove was easily accomplished, and probably led to the
+occasional use of the cooking-pit, with protecting chimney hood on the
+open and unsheltered roof. Fig. 72 illustrates a
+deep cooking-pit on an upper
+<a name="page177" id="page177"> </a>
+terrace of Walpi. In this instance the cooking pit is very massively
+built, and in the absence of a sheltering “tupubi” corner is effectually
+protected on three sides by mud-plastered stone work, the whole being
+capped with the usual chimneypot. The contrivance is placed conveniently
+near the roof hatchway of a dwelling room.</p>
+
+<p class="illustration">
+<a name="fig72" id="fig72"> </a>
+<img src="images/fig72.png" width="414" height="263"
+alt="cooking pit"
+title="cooking pit" /></p>
+<p class="caption"><span class="smallcaps">Fig. 72.</span>
+A terrace cooking-pit and chimney of Walpi.</p>
+
+<p>The outdoor use of the above-described fireplaces on upper terraces
+has apparently suggested the improvement of the ground cooking pit
+<a name="page178" id="page178"> </a>
+in a similar manner. Several specimens were seen in which the cooking
+pit of the ordinary depressed type, excavated near an inner corner of a
+house wall, was provided with sheltering masonry and a chimney cap; but
+such an arrangement is by no means of frequent occurrence. Fig. 73
+illustrates an example that was seen on the east
+side of Shumopavi. It will be noticed that in the use of this
+arrangement on the ground&mdash;an arrangement that evidently originated
+on the terraces&mdash;the builders have reverted to the earlier form of
+excavated pit. In other respects the example illustrated is not
+distinguishable from the terrace forms above described.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig73" id="fig73"> </a>
+<img src="images/fig73.png" width="229" height="244"
+alt="cooking pit"
+title="cooking pit" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 73.</span>
+A ground cooking-pit<br/>
+of Shumopavi covered<br/>
+with a chimney.
+</td>
+</tr>
+</table>
+
+<p>In the discussion of the details of kiva arrangement in Tusayan
+(p.&nbsp;121) it was shown that the chimney is not used in any form in
+these ceremonial chambers; but the simple roof-opening forming the
+hatchway serves as a smoke vent, without the addition of either an
+internal hood or an external shaft. In the Zuñi kivas the smoke also
+finds vent through the opening that gives access to the chamber, but in
+the framing of the roof, as is shown elsewhere, some distinction between
+door and chimney is observed. The roof-hole is made double, one portion
+accommodating the ingress ladder and the other intended to serve for the
+egress of the smoke.</p>
+
+<p>The external chimney of the pueblos is a simple structure, and
+exhibits but few variations from the type. The original form was
+undoubtedly a mere hole in the roof; its use is perpetuated in the
+kivas. This primitive form was gradually improved by raising its sides
+above the roof, forming a rudimentary shaft. The earlier forms are
+likely to have been rectangular, the round following and developing
+later short masonry shafts which were finally given height by the
+addition of chimney pots. In Zuñi the chimney has occasionally developed
+into a rather tall shaft, projecting sometimes to a height of 4&nbsp;or 5
+feet above the roof. This is particularly noticeable on the lower
+terraces of Zuñi, the chimneys of
+<a name="page179" id="page179"> </a>
+the higher rooms being more frequently of the short types prevalent in
+the farming pueblos of Cibola and in Tusayan. The tall chimneys found in
+Zuñi proper, and consisting often of four or five chimney pots on a
+substructure of masonry, are undoubtedly due to the same conditions that
+have so much influenced other constructional details; that is, the
+exceptional height of the clusters and crowding of the rooms. As a
+result of this the chimney is a more conspicuous feature in Zuñi than
+elsewhere, as will be shown by a comparison of the views of the villages
+given in Chapters <a href="#chapIII"><span class="smallroman">III</span></a> and <a href="#chapIV"><span class="smallroman">IV</span></a>.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig74" id="fig74"> </a>
+<img src="images/fig74a.png" width="218" height="232"
+alt="chimney"
+title="chimney" /></td>
+</tr>
+<tr>
+<td class="picture">
+<img src="images/fig74b.png" width="181" height="179"
+alt="chimney"
+title="chimney" /></td>
+</tr>
+<tr>
+<td class="caption">
+<span class="smallcaps">Fig. 74.</span>
+Tusayan chimneys.
+</td>
+</tr>
+</table>
+
+<p>In Tusayan many of the chimneys are quite low, a&nbsp;single pot
+surmounting a masonry substructure not more than 6&nbsp;inches high being
+quite common. As a rule, however, the builders preferred to use a series
+of pots. Two typical Tusayan chimneys are illustrated in Fig. 74.
+Most of the substructures for chimneys in this
+province are rudely rectangular in form, and clearly expose the rough
+stonework of the masonry, while in Zuñi the use of adobe generally
+obliterates all traces of construction. In both provinces chimneys are
+seen without the chimney pot. These usually occur in clusters, simply
+because the builder of a room or group of rooms preferred that form of
+chimney. Pl. <span class="smallroman">CI</span> illustrates a portion of the upper terraces
+of Zuñi where a number of masonry chimneys are grouped together. Those
+on the highest roof are principally of the rectangular form, being
+probably a direct development from the square roof hole. The latter is
+still sometimes seen with a rim rising several inches above the roof
+surface and formed of slabs set on edge or of ordinary masonry. These
+upper chimneys are often closed or covered with thin slabs of sandstone
+laid over them in the same manner as the roof holes that they resemble.
+The fireplaces to which some of them belong appear to be used for
+heating the rooms rather than for cooking, as they are often disused for
+long periods during the summer season.</p>
+
+<p class="illustration">
+<a name="plateCI" id="plateCI"> </a>
+<img src="images/plate101.jpg" width="484" height="342"
+alt="chimneys"
+title="chimneys" /></p>
+<p class="caption smallcaps">
+Plate CI. Masonry chimneys of Zuñi.</p>
+
+<p>
+<a name="page180" id="page180"> </a>
+Pl. <span class="smallroman">CI</span> also
+illustrates chimneys in which pots have been used in connection with
+masonry bases, and also a round masonry chimney. The latter is
+immediately behind the single pot chimney seen in the foreground. On the
+extreme left of the figure is shown a chimney into which fire pots have
+been incorporated, the lower ones being almost concealed from view by
+the coating of adobe. A&nbsp;similar effect may be seen in the small chimney
+on the highest roof shown in <a href="#plateLVIII">Pl. <span class="smallroman">LVIII</span></a>. <a href="#plateLXXXII">Pl. <span class="smallroman">LXXXII</span></a> shows various methods of using the
+chimney pots. In one case the chimney is capped with a reversed
+large-mouthed jar, the broken bottom serving as an outlet for the smoke.
+The vessel usually employed for this purpose is an ordinary black
+cooking pot, the bottom being burned out, or otherwise rendered unfit
+for household use. Other vessels are occasionally used. <a href="#plateLXXXIII">Pl. <span class="smallroman">LXXXIII</span></a> shows
+the use, as the crowning member of the chimney, of an ordinary water
+jar, with dark decorations on a white ground. A&nbsp;vessel very badly broken
+is often made to serve in chimney building by skillful use of mud and
+mortar. To facilitate smoke exit the upper pot is made to overlap the
+neck of the one below by breaking out the bottom sufficiently. The
+joining is not often visible, as it is usually coated with adobe. The
+lower pots of a series are in many cases entirely embedded in the
+adobe.</p>
+
+<p>The pueblo builder has never been able to construct a detached
+chimney a full story in height, either with or without the aid of
+chimney pots; where it is necessary to build such shafts to obtain the
+proper draft he is compelled to rely on the support of adjoining walls,
+and usually seeks a corner. <a href="#plateCI">Pl. <span class="smallroman">CI</span></a> shows a chimney of this kind that has been
+built of masonry to the full height of a story. A&nbsp;similar example is
+shown in the foreground of <a href="#plateLXXVIII">Pl. <span class="smallroman">LXXVIII</span></a>. In <a href="#plateXXII">Pl. <span
+class="smallroman">XXII</span></a> may be seen a chimney of the full
+height of the adjoining story, but in this instance it is constructed
+wholly of pots. <a href="#plateLXXXV">Pl. <span class="smallroman">LXXXV</span></a> illustrates a similar case indoors.</p>
+
+<p>The external chimney probably developed gradually from the simple
+roof opening, as previously noted. The raised combing about trapdoors or
+roof holes afforded the first suggestion in this direction. From this
+developed the square chimney, and finally the tall round shaft, crowned
+with a series of pots. The whole chimney, both internal and external,
+excluding only the primitive fireplace, is probably of comparatively
+recent origin, and based on the foreign (Spanish) suggestion.</p>
+
+<h6><a name="chapIV_4_8" id="chapIV_4_8">
+GATEWAYS AND COVERED PASSAGES.</a></h6>
+
+<p>Gateways, arranged for defense, occur in many of the more
+compactly-built ancient pueblos. Some of the passageways in the modern
+villages of Tusayan and Cibola resemble these older examples, but most
+of the narrow passages, giving access to the inner courts of the
+inhabited villages, are not the result of the defensive idea, but are
+formed by the crowding together of the dwellings. They occur, as a rule,
+within the pueblo and not upon its periphery. Many of the terraces now
+face outward and are reached from the outside of the pueblo, being in
+marked contrast to the early arrangement, in which narrow passages to
+inclose
+<a name="page181" id="page181"> </a>
+courts were exclusively used for access. In the ground plans of several
+villages occupied within historic times, but now ruined, vestiges of
+openings arranged on the original defensive plan may be traced. About
+midway on the northeast side of Awatubi fragments of a standing wall
+were seen, apparently the two sides of a passageway to the inclosed
+court of the pueblo. The masonry is much broken down, however, and no
+indication is afforded of the treatment adopted, nor do the remains
+indicate whether this entrance was originally covered or not. It is
+illustrated in Pl. <span class="smallroman">CII</span>.</p>
+
+<p class="illustration">
+<a name="plateCII" id="plateCII"> </a>
+<img src="images/plate102.png" width="454" height="264"
+alt="gateway"
+title="gateway" /></p>
+<p class="caption smallcaps">
+Plate CII. Remains of a gateway in Awatubi.</p>
+
+<p>Other examples of this feature may be seen in the ground plans of
+Tebugkihu, Chukubi, and Payupki (<a href="#fig7">Fig. 7</a>, and Pls.
+<a href="#plateXII"><span class="smallroman">XII</span></a> and <a
+href="#plateXIII"><span class="smallroman">XIII</span></a>).</p>
+
+<p>In the first of these the deep jambs of the opening are clearly
+defined, but in the other two only low mounds of débris suggest the
+gateway. In the ancient Cibolan pueblos, including those on the mesa of
+Tâaaiyalana, no remains of external gateways have been found; the plans
+suggest that the disposition of the various clusters approximated
+somewhat the irregular arrangement of the present day. There are only
+occasional traces, as of a continuous defensive outer wall, such as
+those seen at Nutria and Pescado. In the pueblos of the Cibola group,
+ancient and modern, access to the inner portion of the pueblo was
+usually afforded at a number of points. In the pueblo of Kin-tiel,
+however, occurs an excellent example of the defensive gateway. The jambs
+and corners of the opening are finished with great neatness, as may be
+seen in the illustration
+(Pl. <span class="smallroman">CIII</span>). This gateway or passage was roofed over,
+and the rectangular depressions for the reception of cross-beams still
+contain short stumps, protected from destruction by the masonry. The
+masonry over the passageway in falling carried away part of the masonry
+above the jamb corner, thus indicating continuity of bond. The ground
+plan of this ruin (<a href="#plateLXIII">Pl. <span class="smallroman">LXIII</span></a>) indicates clearly the various points at
+which access to the inner courts was obtained. On the east side a
+noticeable feature is the overlapping of the boundary wall of the south
+wing, forming an indirect entranceway. The remains do not indicate that
+this passage, like the one just described, was roofed over. In some
+cases the modern passageways, as they follow the jogs and angles of
+adjoining rows of houses, display similar changes of direction. In
+Shupaulovi, which preserves most distinctly in its plan the idea of the
+inclosed court, the passageway at the south end of the village changes
+its direction at a right angle before emerging into the court (<a href="#plateXXX">Pl. <span class="smallroman">XXX</span></a>). This
+arrangement was undoubtedly determined by the position of the terraces
+long before the passageway was roofed over and built upon. <a href="#plateXXII">Pl. <span class="smallroman">XXII</span></a> shows the
+south passageway of Walpi; the entrances are made narrower than the rest
+of the passage by building buttresses of masonry at the sides. This was
+probably done to secure the necessary support for the north and south
+walls of the upper story. One of the walls, as maybe seen in the
+illustration, rests directly upon a cross beam, strengthened in this
+manner.</p>
+
+<p class="illustration">
+<a name="plateCIII" id="plateCIII"> </a>
+<img src="images/plate103.png" width="452" height="290"
+alt="gateway"
+title="gateway" /></p>
+<p class="caption smallcaps">
+Plate CIII. Ancient gateway, Kin-tiel.</p>
+
+<p>
+<a name="page182" id="page182"> </a>
+One of the smaller inclosed courts of Zuñi, illustrated in <a href="#plateLXXXII">Pl. <span class="smallroman">LXXXII</span></a>, is
+reached by means of two covered passages, bearing some general
+resemblance to the ancient defensive entrances, but these houses,
+reached from within the court, have also terraces without. The low
+passage shown in the figure has gradually been surmounted by rooms,
+reaching in some cases a height of three terraces above the openings;
+but the accumulated weight finally proved too much for the beams and
+sustaining walls&mdash;probably never intended by the builders to
+withstand the severe test afterwards put upon them&mdash;and following
+an unusually protracted period of wet weather, the entire section of
+rooms above fell to the ground. This occurred since the surveying and
+photographing. It is rather remarkable that the frail adobe walls
+withstood so long the unusual strain, or even that they sustained the
+addition of a top story at all.</p>
+
+<p>In the preceding examples the passageway was covered throughout its
+length by rooms, but cases occur in both Tusayan and Cibola in which
+only portions of the roof form the floor of superstructures.
+Pl. <span class="smallroman">CIV</span> shows a
+passage roofed over beyond the two-story portion of the building for a
+sufficient distance to form a small terrace, upon which a ladder stands.
+<a href="#plateXXIII">Pl. <span class="smallroman">XXIII</span></a>
+illustrates a similar arrangement on the west side of Walpi. The outer
+edges of these terraces are covered with coping stones and treated in
+the same manner as outer walls of lower rooms. In Zuñi an example of
+this form of passage roof occurs between two of the eastern house rows,
+where the rooms have not been subjected to the close crowding
+characteristic of the western clusters of the pueblo.</p>
+
+<p class="illustration">
+<a name="plateCIV" id="plateCIV"> </a>
+<img src="images/plate104.png" width="441" height="283"
+alt="passageway"
+title="passageway" /></p>
+<p class="caption smallcaps">
+Plate CIV. A covered passageway in Mashongnavi.</p>
+
+<h6><a name="chapIV_4_9" id="chapIV_4_9">
+DOORS.</a></h6>
+
+<p>In Zuñi many rooms of the ground story, which in early times must
+have been used largely for storage, have been converted into
+well-lighted, habitable apartments by the addition of external doors. In
+Tusayan this modification has not taken place to an equal extent, the
+distinctly defensive character of the first terrace reached by removable
+ladders being still preserved. In this province a doorway on the ground
+is always provided in building a house, but originally this space was
+not designed to be permanent; it was left merely for convenience of
+passing in and out during the construction, and was built up before the
+walls were completed. Of late years, however, such doorways are often
+preserved, and additional small openings are constructed for
+windows.</p>
+
+<p>In ancient times the larger doorways of the upper terraces were
+probably never closed, except by means of blankets or rabbit-skin robes
+hung over them in cold weather. Examples have been seen that seem to
+have been constructed with this object in view, for a slight pole, of
+the same kind as those used in the lintels, is built into the masonry of
+the jambs a few inches below the lintel proper. Openings imperfectly
+closed against the cold and wind were naturally placed in the lee walls
+to avoid the prevailing southwest winds, and the ground plans of the
+exposed mesa villages were undoubtedly influenced by this circumstance,
+<a name="page183" id="page183"> </a>
+the tendency being to change them from the early inclosed court type and
+to place the houses in longitudinal rows facing eastward. This is
+noticeable in the plans given in Chapter <span class="smallroman">II</span>.</p>
+
+<p>Doorways closed with masonry are seen in many ruins. Possibly these
+are an indication of the temporary absence of the owner, as in the
+harvest season, or at the time of the destruction or abandonment of the
+village; but they may have been closed for the purpose of economizing
+warmth and fuel during the winter season. No provision was made for
+closing them with movable doors. The practice of fastening up the doors
+during the harvesting season prevails at the present time among the
+Zuñi, but the result is attained without great difficulty by means of
+rude cross bars, now that they have framed wooden doors. One of these is
+illustrated in Fig. 75. These doors are usually
+opened by a latch-string, which, when not hung outside, is reached by
+means of a small round hole through the wall at the side of the door.
+Through this hole the owner of the house, on leaving it, secures the
+door by props and braces on the inside of the room, the hole being
+sealed up and plastered in the same manner that other openings are
+treated.</p>
+
+<p class="illustration">
+<a name="fig75" id="fig75"> </a>
+<img src="images/fig75.png" width="416" height="320"
+alt="barred door"
+title="barred door" /></p>
+<p class="caption"><span class="smallcaps">Fig. 75.</span>
+A barred Zuñi door.</p>
+
+<p>This curious arrangement affords another illustration of the survival
+of ancient methods in modified forms. It is not employed, however, in
+closing the doors of the first terrace; these are fastened by barring
+from the inside, the exit being made by means of internal ladders to the
+terrace above, the upper doors only being fastened in the manner
+illustrated. In <a href="#plateLXXIX">Pl. <span class="smallroman">LXXIX</span></a> may be seen good examples of the side
+hole. Fig. 75 shows a barred door. The plastering
+or sealing of the small side
+<a name="page184" id="page184"> </a>
+hole instead of the entire opening was brought about by the introduction
+of the wooden door, which in its present paneled form is of foreign
+introduction, but in this, as in so many other cases, some analogous
+feature which facilitated the adoption of the idea probably already
+existed. Tradition points to the early use of a small door, made of a
+single slab of wood, that closed the small rectangular wall niches, in
+which valuables, such as turquoise, shell, etc., were kept. This slab,
+it is said, was reduced and smoothed by rubbing with a piece of
+sandstone. A&nbsp;number of beams, rafters, and roofing planks, seen in the
+Chaco pueblos, were probably squared and finished in this way. The
+latter examples show a degree of familiarity with this treatment of wood
+that would enable the builders to construct such doors with ease. As
+yet, however, no examples of wooden doors have been seen in any of the
+pre-Columbian ruins.</p>
+
+<p>The pueblo type of paneled door is much more frequently seen in
+Cibola than in Tusayan, and in the latter province it does not assume
+the variety of treatment seen in Zuñi, nor is the work so neatly
+executed. The views of the modern pueblos, given in Chapters <a href="#chapIII"><span class="smallroman">III</span></a> and <a href="#chapIV"><span class="smallroman">IV</span></a>, will indicate the
+extent to which this feature occurs in the two groups. In the
+construction of a paneled door the vertical stile on one side is
+prolonged at the top and bottom into a rounded pivot, which works into
+cup-like sockets in the lintel and sill, as illustrated in Fig. 76.
+The hinge is thus produced in the wood itself
+without the aid of any external appliances.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig76" id="fig76"> </a>
+<img src="images/fig76.png" width="111" height="206"
+alt="pivot hinges"
+title="pivot hinges" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 76.</span>
+Wooden pivot<br/>
+hinges of a Zuñi door.
+</td>
+</tr>
+</table>
+
+<p>It is difficult to trace the origin of this device among the pueblos.
+It closely resembles the pivot hinges sometimes used in mediæval Europe
+in connection with massive gates for closing masonry passages; in such
+cases the prolonged pivots worked in cavities of stone sills and
+lintels. The Indians claim to have employed it in very early times, but
+no evidence on this point has been found. It is quite possible that the
+idea was borrowed from some of the earlier Mormon settlers who came into
+the country, as these people use a number of primitive devices which are
+undoubtedly survivals of methods of construction once common in the
+countries from which they came. Vestiges of the use of a pivotal hinge,
+constructed on a much more massive scale than any of the pueblo
+examples, were seen at an old fortress-like, stone storehouse of the
+Mormons, built near the site of Moen-kopi by the first Mormon
+settlers.</p>
+
+<p>The paneled door now in use among the pueblos is rudely made, and
+consists of a frame inclosing a single panel. This panel, when of large
+size, is occasionally made of two or more pieces. These doors vary
+greatly in size. A&nbsp;few reach the height of 5&nbsp;feet, but the usual height
+<a name="page185" id="page185"> </a>
+is from 3½ to 4 feet. As doors are commonly elevated a foot or more
+above the ground or floor, the use of such openings does not entail the
+full degree of discomfort that the small size suggests. Doors of larger
+size, with sills raised but an inch or two above the floor or ground,
+have recently been introduced in some of the ground stories in Zuñi; but
+these are very recent, and the idea has been adopted only by the most
+progressive people.</p>
+
+<p><a href="#plateXLI">Pl. <span class="smallroman">XLI</span></a>
+shows a small paneled door, not more than a foot square, used as a blind
+to close a back window of a dwelling. The smallest examples of paneled
+doors are those employed for closing the small, square openings
+<a name="page186" id="page186"> </a>
+in the back walls of house rows, which still retain the defensive
+arrangement so marked in many of the ancient pueblos. In some instances
+doors occur in the second stories of unterraced walls, their sills being
+5&nbsp;or 6 feet above the ground. In such cases the doors are reached by
+ladders whose upper ends rest upon the sills. Elevated openings of this
+kind are closed in the usual manner with a rude, single-paneled door,
+which is often whitened with a coating of clayey gypsum.</p>
+
+<p>Carefully worked paneled doors are much more common in Zuñi than in
+Tusayan, and within the latter province the villages of the first mesa
+make more extended use of this type of door, as they have come into more
+intimate contact with their eastern brethren than other villages of the
+group. Fig. 77 illustrates a portion of a Hano
+house in which two wooden doors occur. These specimens indicate the
+rudeness of Tusayan workmanship. It will be seen that the workman who
+framed the upper one of these doors met with considerable difficulty in
+properly joining the two boards of the panel and in connecting these
+with the frame. The figure shows that at several points the door has
+been reenforced and strengthened by buckskin and rawhide thongs. The
+same device has been employed in the lower door, both in fastening
+together the two pieces of the panel and in attaching the latter to the
+framing. These doors also illustrate the customary manner of barring the
+door during the absence of the occupant of the house.</p>
+
+<p class="illustration">
+<a name="fig77" id="fig77"> </a>
+<img src="images/fig77.png" width="333" height="455"
+alt="wooden doors"
+title="wooden doors" /></p>
+<p class="caption"><span class="smallcaps">Fig. 77.</span>
+Paneled wooden doors in Hano.</p>
+
+<p>The doorway is usually framed at the time the house is built. The
+sill is generally elevated above the ground outside and the floor
+inside, and the door openings, with a few exceptions, are thus
+practically only large windows. In this respect they follow the
+arrangement characteristic of the ancient pueblos, in which all the
+larger openings are window-like doorways. These are sometimes seen on
+the court margin of house rows, and frequently occur between
+communicating rooms within the cluster. They are usually raised about a
+foot and a half above the floor, and in some cases are provided with one
+or two steps. In Zuñi, doorways between communicating rooms, though now
+framed in wood, preserve the same arrangement, as may be seen in <a href="#plateLXXXVI">Pl. <span class="smallroman">LXXXVI</span></a>.</p>
+
+<p>The side pieces of a paneled pueblo door are mortised, an achievement
+far beyond the aboriginal art of these people. Fig.
+78 illustrates the manner in which the framing is done. All the
+necessary grooving, and the preparation of the projecting tenons is
+laboriously executed with the most primitive tools, in many cases the
+whole frame, with all its joints, being cut out with a small knife.</p>
+
+<p class="floatright picture">
+<a name="fig78" id="fig78"> </a>
+<img src="images/fig78top.gif" width="26" height="142"
+alt="framing of door-panel"
+title="framing of door-panel" /></p>
+
+<p class="floatright picture">
+<img src="images/fig78bottom.gif" width="112" height="52"
+alt="framing of door-panel"
+title="framing of door-panel" /></p>
+
+<p class="floatright capleft">
+<span class="smallcaps">Fig. 78.</span> Framing of a<br/>
+Zuñi door-panel.</p>
+
+<p>Doors are usually fastened by a simple wooden latch, the bar of which
+turns upon a wooden pin. They are opened from without by lifting the
+<a name="page187" id="page187"> </a>
+latch from its wooden catch, by means of a string passed through a small
+hole in the door, and hanging outside. Some few doors are, however,
+provided with a cumbersome wooden lock, operated by means of a square,
+notched stick that serves as a key. These locks are usually fastened to
+the inner side of the door by thongs of buckskin or rawhide, passed
+through small holes bored or drilled through the edge of the lock, and
+through the stile and panel of the door at corresponding points. The
+entire mechanism consists of wood and strings joined together in the
+rudest manner. Primitive as this device is, however, its conception is
+far in advance of the aboriginal culture of the pueblos, and both it and
+the string latch must have come from without. The lock was probably a
+contrivance of the early Mormons, as it is evidently roughly modeled
+after a metallic lock.</p>
+
+<p>Many doors having no permanent means of closure are still in use.
+These are very common in Tusayan, and occur also in Cibola, particularly
+in the farming pueblos. The open front of the “tupubi” or balcony-like
+recess, seen so frequently at the ends of first-terrace roofs in
+Tusayan, is often constructed with a transom-like arrangement in
+connection with the girder supporting the edge of the roof, in the same
+manner in which doorways proper are treated. <a href="#plateXXXII">Pl.
+<span class="smallroman">XXXII</span></a> illustrates a balcony in
+which one bounding side is formed by a flight of stone steps, producing
+a notched or terraced effect. The supporting girder in this instance is
+embedded in the wall and coated over with adobe, obscuring the
+construction. Fig. 79 shows a rude transom over
+the supporting beam of a balcony roof in the principal house of Hano.
+The upper doorway shown in this house has been partly walled in,
+reducing its size somewhat. It is also provided with a small horizontal
+opening over the main lintel, which, like the doorway, has been partly
+filled with masonry. This upper transom often seems to have resulted
+from carrying such openings to the full height of the story. The transom
+probably originated from the spaces left between the ends of beams
+resting on the main girder that spanned the principal opening (see <a
+href="#fig81">Fig. 81</a>). Somewhat similar balconies are seen in
+Cibola, both in Zuñi and in the farming villages, but they do not assume
+so much importance as in Tusayan. An example is shown in <a href="#plateCI">Pl. <span class="smallroman">CI</span></a>, in which the
+construction of this feature is clearly visible.</p>
+
+<p class="illustration">
+<a name="fig79" id="fig79"> </a>
+<img src="images/fig79.png" width="351" height="450"
+alt="transoms"
+title="transoms" /></p>
+
+<p class="caption"><span class="smallcaps">Fig. 79.</span>
+Rude transoms over Tusayan openings.</p>
+
+<p>In the remains of the ancient pueblos there is no evidence of the use
+of the half-open terrace rooms described above. If such rooms existed,
+especially if constructed in the open manner of the Tusayan examples,
+they must have been among the first to succumb to destruction. The
+comparative rarity of this feature in Zuñi does not necessarily indicate
+that it is not of native origin, as owing to the exceptional manner of
+clustering and to prolonged exposure to foreign influence, this pueblo
+exhibits a wider departure from the ancient type than do any of the
+Tusayan villages. It is likely that the ancient builders, trusting to
+the double protection of the inclosed court and the defensive first
+terrace,
+<a name="page188" id="page188"> </a>
+freely adopted this open and convenient arrangement in connection with
+the upper roofs.</p>
+
+<p class="floatleft picture">
+<a name="fig80" id="fig80"> </a>
+<img src="images/fig80top.gif" width="223" height="124"
+alt="doorway with transoms"
+title="doorway with transoms" /></p>
+
+<p class="floatleft picture">
+<img src="images/fig80bottom.gif" width="312" height="131"
+alt="doorway with transoms"
+title="doorway with transoms" /></p>
+
+<p class="floatleft capleft">
+<span class="smallcaps">Fig. 80.</span>
+A large Tusayan doorway<br/>
+with small transom openings.</p>
+
+<p>The transom-like opening commonly accompanying the large opening is
+also seen in many of the inclosed doorways of Tusayan, but in some of
+these cases its origin can not be traced to the roof constructions, as
+the openings do not approach the ceilings of the rooms. In early days
+such doorways were closed by means of large slabs of stone set on edge,
+and these were sometimes supplemented by a suspended blanket. In severe
+winter weather many of the openings were closed with masonry. At the
+present time many doorways not provided with paneled doors
+<a name="page189" id="page189"> </a>
+are closed in such ways. When a doorway is thus treated its transom is
+left open for the admission of light and air. The Indians state that in
+early times this transom was provided for the exit of smoke when the
+main doorway was closed, and even now such provision is not wholly
+superfluous. Fig. 80 illustrates a large doorway
+of Tusayan with a small transom. The opening was being reduced in size
+by means of adobe masonry at the time the drawing was made.
+Fig. 81 shows a double transom over a lintel composed of
+two poles; a&nbsp;section of masonry separating the transom into two distinct
+openings rests upon the lintel of the doorway and supports a roof-beam;
+this is shown in the figure. Other examples of transoms may be seen in
+connection with many of the illustrations of Tusayan doorways.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig81" id="fig81"> </a>
+<img src="images/fig81.png" width="202" height="170"
+alt="doorway and transom"
+title="doorway and transom" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 81.</span>
+A doorway and<br/>
+double transom in Walpi.
+</td>
+</tr>
+</table>
+
+<p>The transom bars over exterior doorways of houses probably bear some
+relation to a feature seen in some of the best preserved ruins and still
+surviving to some extent in Tusayan practice. This consists of a
+straight pole, usually of the same dimensions as the poles of which the
+lintel is made, extending across the opening from 2 to 6 inches below
+the main lintel, and fixed into the masonry in a position to serve as a
+curtain pole. Originally this pole undoubtedly served as a means of
+suspension for the blanket or skin rug used in closing the opening, just
+as such means are now used in the huts of the Navajo, as well as
+<a name="page190" id="page190"> </a>
+occasionally in the houses of Tusayan. The space above this cross stick
+answered the same purpose as the transoms of the present time.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig82" id="fig82"> </a>
+<img src="images/fig82.png" width="152" height="181"
+alt="doorway"
+title="doorway" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 82.</span>
+An ancient doorway<br/>
+in Canyon de Chelly cliff ruin.
+</td>
+</tr>
+</table>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig83" id="fig83"> </a>
+<img src="images/fig83.png" width="237" height="263"
+alt="notched doorway"
+title="notched doorway" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 83.</span>
+A symmetrically notched<br/>
+doorway in Mashongnavi.
+</td>
+</tr>
+</table>
+
+<p>A most striking feature of doorways is the occasional departure from
+the quadrangular form, seen in some ruined villages and also in some of
+the modern houses of Tusayan. Fig. 82 illustrates
+a specimen of this type found in a small cliff ruin, in Canyon de
+Chelly. Ancient examples of this form of opening are distinguished by a
+symmetrical disposition of the step in the jamb, while the modern doors
+are seldom so arranged. A&nbsp;modern example from Mashongnavi
+is shown in Fig. 83. This opening also illustrates the double or
+divided transom. The beam ends shown in the figure project beyond the
+face of the wall and support an overhanging coping or cornice. A&nbsp;door-like
+window, approximating the symmetrical form described, is seen
+immediately over the passage-way shown in <a href="#plateXXII">Pl.
+<span class="smallroman">XXII</span></a>. This form is evidently the
+result of the partial closing of a larger rectangular opening.</p>
+
+<p>Fig. 84 shows the usual type of terraced
+doorway in Tusayan, in which one jamb is stepped at a considerably
+greater height than the other. In Tusayan large openings occur in which
+only one jamb is stepped, producing an effect somewhat of that of the
+large balcony openings with flights of stone steps at one side,
+previously illustrated. An opening of this form is shown in Fig. 85.
+Both of the stepped doorways,
+<a name="page191" id="page191"> </a>
+illustrated above, are provided with transom openings extending from one
+roof beam to another. In the absence of a movable door the openings were
+made of the smallest size consistent with convenient use. The stepped
+form was very likely suggested by the temporary partial blocking up of
+an opening with loose, flat stones in such a manner as to least impair
+its use. This is still quite commonly done, large openings being often
+seen in which the lower portion on one or both sides is narrowed by
+means of adobe bricks or stones loosely piled up. In this connection it
+may be noted that the secondary lintel pole, previously described as
+occurring in both ancient and modern doorways, serves the additional
+purpose of a hand-hold when supplies are brought into the house on the
+backs of the occupants. The stepping of the doorway, while diminishing
+its exposed area, does not interfere with its use in bringing in large
+bundles, etc. Series of steps, picked into the faces of the cliffs, and
+affording access to cliff dwellings, frequently have a supplementary
+series of narrow and deep cavities that furnish a secure hold for the
+hands. The requirements of the precipitous environment of these people
+have led to the carrying of loads of produce, fuel, etc., on the back by
+means of a suspending band passed across the forehead;
+<a name="page192" id="page192"> </a>
+this left the hands free to aid in the difficult task of climbing. These
+conditions seem to have brought about the use, in some cases, of
+handholds in the marginal frames of interior trapdoors as an aid in
+climbing the ladder.</p>
+
+<p class="illustration">
+<a name="fig84" id="fig84"> </a>
+<img src="images/fig84.png" width="410" height="403"
+alt="notched doorway"
+title="notched doorway" /></p>
+<p class="caption"><span class="smallcaps">Fig. 84.</span>
+A Tusayan notched doorway.</p>
+
+<p class="floatright picture">
+<a name="fig85" id="fig85"> </a>
+<img src="images/fig85top.gif" width="216" height="119"
+alt="doorway with notched jamb"
+title="doorway with notched jamb" /></p>
+
+<p class="floatright picture">
+<img src="images/fig85middle.gif" width="303" height="173"
+alt="doorway with notched jamb"
+title="doorway with notched jamb" /></p>
+
+<p class="floatright picture">
+<img src="images/fig85bottom.gif" width="202" height="50"
+alt="doorway with notched jamb"
+title="doorway with notched jamb" /></p>
+
+<p class="floatright capleft">
+<span class="smallcaps">Fig. 85.</span> A large Tusayan<br/>
+doorway with one notched jamb.</p>
+
+<p>One more characteristic type of the ancient pueblo doorway remains to
+be described. During the autumn of 1883, when the ruined pueblo of
+Kin-tiel was surveyed, a&nbsp;number of excavations were made in and about
+the pueblo. A&nbsp;small room on the east side, near the brink of the arroyo
+that traverses the ruin from east to west, was completely cleared out,
+exposing its fireplace, the stone paving of its floor, and other details
+of construction. Built into an inner partition of this room was found a
+large slab of stone, pierced with a circular hole of sufficient size for
+a man to squeeze through. This slab was set on edge and incorporated
+into the masonry of the partition, and evidently served as a means of
+communication with another room. The position of this doorway and its
+relation to the room in which it occurs may be seen from the
+illustration in <a href="#plateC">Pl. <span class="smallroman">C</span></a>, which shows the stone in situ. The doorway or
+“stone-close” is shown in Fig. 86 on a sufficient
+scale to indicate the degree of technical skill in the architectural
+treatment of stone possessed by the builders of this old pueblo. The
+writer visited Zuñi in October of the same season, and on describing
+this find to Mr. Frank H. Cushing, learned that the Zuñi Indians still
+preserved traditional knowledge of this device. Mr. Cushing kindly
+furnished at the
+<a name="page193" id="page193"> </a>
+time the following extract from the tale of “The Deer-Slayer and the
+Wizards,” a Zuñi folk-tale of the early occupancy of the valley of
+Zuñi.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig86" id="fig86"> </a>
+<img src="images/fig86.png" width="205" height="202"
+alt="circular doorway"
+title="circular doorway" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 86.</span>
+An ancient circular<br/>
+doorway or “stone-close”<br/>
+in Kin-tiel.
+</td>
+</tr>
+</table>
+
+<p>“‘How will they enter?’ said the young man to his wife. ‘Through the
+stone-close at the side,’ she answered. In the days of the ancients, the
+doorways were often made of a great slab of stone with a round hole cut
+through the middle, and a round stone slab to close it, which was called
+the stone-close, that the enemy might not enter in times of war.”</p>
+
+<p>Mr. Cushing had found displaced fragments of such circular stone
+doorways at ruins some distance northwest from Zuñi, but had been under
+the impression that they were used as roof openings. All examples of
+this device known to the writer as having been found in place occurred
+in side walls of rooms. Mr. E.&nbsp;W. Nelson, while making collections
+of pottery from ruins near Springerville, Arizona, found and sent to the
+Smithsonian Institution, in the autumn of 1884, “a&nbsp;flat stone about 18
+inches square with a round hole cut in the middle of it. This stone was
+taken from the wall of one of the old ruined stone houses near
+Springerville, in an Indian ruin. The stone was set in the wall between
+two inner rooms of the ruin, and evidently served as a means of
+communication or perhaps a ventilator. I&nbsp;send it on mainly as an example
+of their stone-working craft.” The position of this feature in the
+excavated room of Kin-tiel is indicated on the ground plan, <a href="#fig60">Fig. 60</a>, which also shows the position of other details
+seen in the general view of the room, <a href="#plateC">Pl. <span
+class="smallroman">C</span></a>.</p>
+
+<p>A small fragment of a “stone-close” doorway was found incorporated
+into the masonry of a flight of outside stone steps at Pescado,
+indicating its use in some neighboring ruin, thus bringing it well
+within the Cibola district. Another point at which similar remains have
+been brought to light is the pueblo of Halona, just across the river
+from the present Zuñi. Mr. F.&nbsp;Webb Hodge, recently connected with
+the Hemenway Southwestern Archeological Exposition, under the direction
+of Mr. F.&nbsp;H. Cushing, describes this form of opening as being of
+quite common occurrence in the rooms of this long-buried pueblo. Here
+the doorways are associated with the round slabs used for closing them.
+The latter were held in place by props within the room. No slabs of this
+form were seen at Kin-tiel, but quite possibly some of the large slabs
+of nearly rectangular form, found within this ruin, may have served the
+same purpose. It would seem more reasonable to use the rectangular
+<a name="page194" id="page194"> </a>
+slabs for this purpose when the openings were conveniently near the
+floors. No example of the stone-close has as yet been found in
+Tusayan.</p>
+
+<p>The annular doorway described above affords the only instance known
+to the writer where access openings were closed with a rigid device of
+aboriginal invention; and from the character of its material this device
+was necessarily restricted to openings of small size. The larger
+rectangular doorways, when not partly closed by masonry, probably were
+covered only with blankets or skin rugs suspended from the lintel. In
+the discussion of sealed windows modern examples resembling the
+stone-close device will be noted, but these are usually employed in a
+more permanent manner.</p>
+
+<p>The small size of the ordinary pueblo doorway was perhaps due as much
+to the fact that there was no convenient means of closing it as it was
+to defensive reasons. Many primitive habitations, even quite rude ones
+built with no intention of defense, are characterized by small doors and
+windows. The planning of dwellings and the distribution of openings in
+such a manner as to protect and render comfortable the inhabited rooms
+implies a greater advance in architectural skill than these builders had
+achieved.</p>
+
+<p>The inconveniently small size of the doorways of the modern pueblos
+is only a survival of ancient conditions. The use of full-sized doors,
+admitting a man without stooping, is entirely practicable at the present
+day, but the conservative builders persist in adhering to the early
+type. The ancient position of the door, with its sill at a considerable
+height from the ground, is also retained. From the absence of any
+convenient means of rigidly closing the doors and windows, in early
+times external openings were restricted to the smallest practicable
+dimensions. The convenience of these openings was increased without
+altering their dimensions by elevating them to a certain height above
+the ground. In the ruin of Kin-tiel there is marked uniformity in the
+height of the openings above the ground, and such openings were likely
+to be quite uniform when used for similar purposes. The most common
+elevation of the sills of doorways was such that a man could readily
+step over at one stride. It will be seen that the same economy of space
+has effected the use of windows in this system of architecture.</p>
+
+<h6><a name="chapIV_4_10" id="chapIV_4_10">
+WINDOWS.</a></h6>
+
+<p>In the pueblo system of building, doors and windows are not always
+clearly differentiated. Many of the openings, while used for access to
+the dwellings, also answer all the purposes of windows, and, both in
+their form and in their position in the walls, seem more fully to meet
+the requirements of openings for the admission of light and air than for
+access. We have seen in the illustrations in Chapters <a href="#chapIII"><span class="smallroman">III</span></a> and <a href="#chapIV"><span class="smallroman">IV</span></a>, openings of
+considerable size so located in the face of the outer wall as to unfit
+them for use as doorways, and others whose size is wholly inadequate,
+but which are still provided with the typical though diminutive
+<a name="page195" id="page195"> </a>
+single-paneled door. Many of these small openings, occurring most
+frequently in the back walls of house rows, have the jambs, lintels,
+etc., characteristic of the typical modern door. However, as the
+drawings above referred to indicate, there are many openings concerning
+the use of which there can be no doubt, as they can only provide
+outlook, light, and air.</p>
+
+<p>In the most common form of window in present use in Tusayan and
+Cibola the width usually exceeds the height. Although found often in
+what appear to be the older portions of the present pueblos, this shape
+probably does not date very far back. The windows of the ancient pueblos
+were sometimes square, or nearly so, when of small size, but when larger
+they were never distinguishable from doorways in either size or finish,
+and the height exceeded the width. This restriction of the width of
+openings was due to the exceptionally small size of the building stone
+made use of. Although larger stones were available, the builders had not
+sufficient constructive skill to successfully utilize them. The failure
+to utilize this material indicates a degree of ignorance of mechanical
+aids that at first thought seems scarcely in keeping with the
+massiveness of form and the high degree of finish characterizing many of
+the remains; but as already seen in the discussion of masonry, the
+latter results were attained by the patient industry of many hands,
+although laboring with but little of the spirit of cooperation. The
+narrowness of the largest doors and windows in the ancient pueblos
+suggests timidity on the part of the ancient builders. The apparently
+bolder construction of the present day, shown in the prevailing use of
+horizontal openings, is not due to greater constructive skill, but
+rather to the markedly greater carelessness of modern construction.</p>
+
+<p>The same contrast between modern and ancient practice is seen in the
+disposition of openings in walls. In the modern pueblos there does not
+seem to be any regularity or system in their introduction, while in some
+of the older pueblos, such as Pueblo Bonito on the Chaco, and others of
+the same group, the arrangement of the outer openings exhibits a certain
+degree of symmetry. The accompanying diagram, Fig.
+87, illustrates a portion of the northern outer wall of Pueblo
+Bonito, in which the small windows of successive rooms, besides being
+uniform in size, are grouped in pairs. The degree of technical skill
+shown in the execution of the masonry about these openings is in keeping
+with the precision with which the openings themselves are placed.
+Pl. <span class="smallroman">CV</span>, gives a
+view of a portion of the wall containing these openings.</p>
+
+<p class="illustration">
+<a name="plateCV" id="plateCV"> </a>
+<img src="images/plate105.jpg" width="486" height="340"
+alt="small openings"
+title="small openings" /></p>
+<p class="caption smallcaps">
+Plate CV. Small square openings in Pueblo Bonito.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig87" id="fig87"> </a>
+<img src="images/fig87.png" width="303" height="61"
+alt="arrangement of openings"
+title="arrangement of openings" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 87.</span>
+Diagram illustrating symmetrical<br/>
+arrangement of small openings<br/>
+in Pueblo Bonito.
+</td>
+</tr>
+</table>
+
+<p>
+<a name="page196" id="page196"> </a>
+In marked contrast to the above examples is the slovenly practice of the
+modern pueblos. There are rarely two openings of the same size, even in
+a single room, nor are these usually placed at a uniform height from the
+floor. The placing appears to be purely a matter of individual taste,
+and no trace of system or uniformity is to be found. Windows occur
+sometimes at considerable height, near or even at the ceiling in some
+cases, while others are placed almost at the base of the wall; examples
+may be found occupying all intermediate heights between these extremes.
+Many of the illustrations show this characteristic irregularity, but
+Pls. <a href="#plateLXXIX"><span class="smallroman">LXXIX</span></a>
+and <a href="#plateLXXXII"><span class="smallroman">LXXXII</span></a> of Zuñi perhaps represent it most
+clearly.</p>
+
+<p>The framing of these openings differs but little from that of the
+ancient examples. The modern opening is distinguished principally by the
+more careless method of combining the materials, and by the introduction
+in many instances of a rude sash. A&nbsp;number of small poles or sticks,
+usually of cedar, with the bark peeled off, are laid side by side in
+contact, across the opening, to form a support for the stones and earth
+of the superposed masonry. Frequently a particularly large tablet of
+stone is placed immediately upon the sticks, but this stone is never
+long enough or thick enough to answer the purpose of a lintel for larger
+openings. The number of small sticks used is sufficient to reach from
+the face to the back of the wall, and in the simplest openings the
+surrounding masonry forms jambs and sill. American or Spanish influence
+occasionally shows itself in the employment of sawed boards for lintels,
+sills, and jambs. The wooden features of the windows exhibit a curiously
+light and flimsy construction.</p>
+
+<p>A large percentage of the windows, in both Tusayan and Cibola, are
+furnished with glass at the present time. Occasionally a primitive sash
+of several lights is found, but frequently the glass is used singly; in
+some instances it is set directly into the adobe without any intervening
+sash or frame. In several cases in Zuñi the primitive sash or frame has
+been rudely decorated with incised lines and notches. An example of this
+is shown in Fig. 88. The frame or sash is usually
+built solidly into the wall. Hinged sashes do not seem to have been
+adopted as yet. Often the introduction of lights shows a curious and
+awkward compromise between aboriginal methods and foreign ideas.</p>
+
+<p class="floatleft picture">
+<a name="fig88" id="fig88"> </a>
+<img src="images/fig88top.gif" width="49" height="79"
+alt="window decoration"
+title="window decoration" /></p>
+
+<p class="floatleft picture">
+<img src="images/fig88bottom.gif" width="244" height="70"
+alt="window decoration"
+title="window decoration" /></p>
+
+<p class="floatleft capleft"><span class="smallcaps">Fig. 88.</span>
+Incised decoration<br/>
+on a rude window sash in Zuñi.</p>
+
+<p>Characteristic of Zuñi windows, and also of those of the neighboring
+pueblo of Acoma, is the use of semitranslucent slabs of selenite, about
+1 inch in thickness and of irregular form. Pieces are occasionally met
+with about 18 inches long and 8 or 10 inches
+<a name="page197" id="page197"> </a>
+wide, but usually they are much smaller and very irregular in outline.
+For windows pieces are selected that approximately fit against each
+other, and thin, flat strips of wood are fixed in a vertical position in
+the openings to serve as supports for the irregular fragments of
+selenite, which could not be retained in place without some such
+provision. The use of window openings at the bases of walls probably
+suggested this use of vertical sticks as a support to slabs of selenite,
+as in this position they would be particularly useful, the windows being
+generally arranged on a slope, as shown in Fig.
+89. Similar glazing is also employed in the related, obliquely
+pierced openings of Zuñi, to be described later.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig89" id="fig89"> </a>
+<img src="images/fig89a.png" width="169" height="89"
+alt="sloping window"
+title="sloping window" /></td>
+</tr>
+<tr>
+<td class="picture">
+<img src="images/fig89b.png" width="167" height="126"
+alt="sloping window"
+title="sloping window" /></td>
+</tr>
+<tr>
+<td class="caption">
+<span class="smallcaps">Fig. 89.</span>
+Sloping selenite window<br/>
+at base of Zuñi wall on upper terrace.
+</td>
+</tr>
+</table>
+
+<p>Selenite, in all probability, was not used in pre-Spanish times. No
+examples have as yet been met with among ruins in the region where this
+material is found and now used. Throughout the south and east portion of
+the ancient pueblo region, explored by Mr. A.&nbsp;F. Bandelier, where
+many of the remains were in a very good state of preservation, no cases
+of the use of this substance were seen. Fig. 90
+illustrates a typical selenite window.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig90" id="fig90"> </a>
+<img src="images/fig90.png" width="234" height="156"
+alt="glazed window"
+title="glazed window" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 90.</span>
+A Zuñi window<br/>
+glazed with selenite.
+</td>
+</tr>
+</table>
+
+<p>In Zuñi some of the kivas are provided with small external windows
+framed with slabs of stone. It is likely that the kivas would for a long
+time perpetuate methods and practices that had been superseded in the
+construction of dwellings. The use of stone jambs, however, would
+necessarily be limited to openings of small size, as such use for large
+openings was beyond the mechanical skill of the pueblo builders.</p>
+
+<p>
+<a name="page198" id="page198"> </a>
+Fig. 91 illustrates the manner of making small
+openings in external exposed walls in Zuñi. Stone frames occur only
+occasionally in what seem to be the older and least modified portions of
+the village. At Tusayan, however, this method of framing windows is much
+more noticeable, as the exceptional crowding that has exercised such an
+influence on Zuñi construction has not occurred there. The Tusayan
+houses are arranged more in rows, often with a suggestion of large
+inclosures resembling the courts of the ancient pueblos. The inclosures
+have not been encroached upon, the streets are wider, and altogether the
+earlier methods seem to have been retained in greater purity than in
+Zuñi. The unbroken outer wall, of two or three stories in height, like
+the same feature of the old villages, is pierced at various heights with
+small openings that do not seriously impair its efficiency for defense.
+Tusayan examples of these loop-hole-like openings maybe seen in Pls. <a
+href="#plateXXII"><span class="smallroman">XXII</span></a>, <a href="#plateXXIII"><span class="smallroman">XXIII</span></a>, and <a href="#plateXXXIX"><span class="smallroman">XXXIX</span></a>.</p>
+
+<p class="illustration">
+<a name="fig91" id="fig91"> </a>
+<img src="images/fig91.png" width="434" height="204"
+alt="openings in wall"
+title="openings in wall" /></p>
+<p class="caption"><span class="smallcaps">Fig. 91.</span>
+Small openings in the back wall of a Zuñi house-cluster.</p>
+
+<p>In some of the ancient pueblos such openings were arranged on a
+distinctly defensive plan, and were constructed with great care.
+Openings of this type, not more than 4&nbsp;inches square, pierced the second
+story outer wall of the pueblo of Wejegi in the Chaco Canyon. In the
+pueblo of Kin-tiel (<a href="#plateLXIII">Pl. <span class="smallroman">LXIII</span></a>) similar loop-hole-like openings were very
+skillfully constructed in the outer wall at the rounded northeastern
+corner of the pueblo. The openings pierced the wall at an oblique angle,
+as shown on the plan. Two of these channel-like loopholes maybe seen in
+<a href="#plateLXV">Pl. <span class="smallroman">LXV</span></a>.
+This figure also shows the carefully executed jamb corners and faces of
+three large openings of the second story, which, though greatly
+undermined by the falling away of the lower masonry, are still held in
+position by the bond of thin flat stones of which the wall is built.</p>
+
+<p class="illustration">
+<a name="plateCVI" id="plateCVI"> </a>
+<img src="images/plate106.png" width="486" height="264"
+alt="sealed openings"
+title="sealed openings" /></p>
+<p class="caption smallcaps">
+Plate CVI. Sealed openings in a detached house of Nutria.</p>
+
+<p>It is often the practice in the modern pueblos to seal up the windows
+of a house with masonry, and sometimes the doors also during the
+temporary absence of the occupant, which absence often takes place at
+the seasons of planting and harvesting. At such times many Zuñi families
+occupy outlying farming pueblos, such as Nutria and Pescado, and the
+<a name="page199" id="page199"> </a>
+Tusayans, in a like manner, live in rude summer shelters close to their
+fields. Such absence from the home pueblo often lasts for a month or
+more at a time. The work of closing the opening is done sometimes in the
+roughest manner, but examples are seen in which carefully laid masonry
+has been used. The latter is sometimes plastered. Occasionally the
+sealing is done with a thin slab of sandstone, somewhat larger than the
+opening, held in place with mud plastering, or propped from the inside
+after the manner of the “stone close” previously described.
+Fig. 92 illustrates specimens of sealed openings in the
+village of Hano of the Tusayan group. The upper window is closed with a
+single large slab and a few small chinking stones at one side. The
+masonry used in closing the lower opening is scarcely distinguishable
+from that of the adjoining walls. Pl. <span class="smallroman">CVI</span> illustrates a similar treatment of an
+opening in a detached house of Nutria, whose occupants had returned to
+the home pueblo of Zuñi at the close of the harvesting season. The
+doorway in this case is only partly closed, leaving a window-like
+aperture at
+<a name="page200" id="page200"> </a>
+its top, and the stones used for the purpose are simply piled up without
+the use of adobe mortar.</p>
+
+<p class="illustration">
+<a name="fig92" id="fig92"> </a>
+<img src="images/fig92.png" width="305" height="461"
+alt="sealed openings"
+title="sealed openings" /></p>
+<p class="caption"><span class="smallcaps">Fig. 92.</span>
+Sealed openings in Tusayan.</p>
+
+<p>Windows and doors closed with masonry are often met with in the
+remains of ancient pueblos, suggesting, perhaps, that some of the
+occupants were absent at the time of the destruction of the village.
+When large door-like openings in upper external walls were built up and
+plastered over in this way, as in some ruins, the purpose was to
+economize heat during the winter, as blankets or rugs made of skins
+would be inadequate.</p>
+
+<p class="illustration">
+<a name="plateCVII" id="plateCVII"> </a>
+<img src="images/plate107.jpg" width="452" height="290"
+alt="opening converted to doorway"
+title="opening converted to doorway" /></p>
+<p class="caption smallcaps">
+Plate CVII. Partial filling-in of a large opening in Oraibi, converting
+it into a doorway.</p>
+
+<p>Besides the closing and reopening of doors and windows just
+described, the modern pueblo builders frequently make permanent changes
+in such openings. Doors are often converted into windows, and windows
+are reduced in size or enlarged, or new ones are broken through the
+walls, apparently, with the greatest freedom, so that they do not, from
+their finish or method of construction, furnish any clue to the
+antiquity of the mud-covered wall in which they are found. Occasionally
+surface weathering of the walls, particularly in Zuñi, exposes a bit of
+horizontal pole embedded in the masonry, the lintel of a window long
+since sealed up and obliterated by successive coats of mud finish. It is
+probable that many openings are so covered up as to leave no trace of
+their existence on the external wall. In Zuñi particularly, where the
+original arrangement for entering and lighting many of the rooms must
+have been wholly lost in the dense clustering of later times, such
+changes are very numerous. It often happens that the addition of a new
+room will shut off one or more old windows, and in such cases the latter
+are often converted into interior niches which serve as open cupboards.
+Such niches were sometimes of considerable size in the older pueblos.
+Changes in the character of openings are quite common in all of the
+pueblos. Usually the evidences of such changes are much clearer in the
+rougher and more exposed work of Tusayan than in the adobe-finished
+houses of Zuñi. Pl. <span class="smallroman">CVII</span> illustrates a large, balcony-like opening
+in Oraibi that has been reduced to the size of an ordinary door by
+filling in with rough masonry. A&nbsp;small window has been left
+immediately over the lintel of the newer door. Pl. <span
+class="smallroman">CVIII</span> illustrates two large openings in
+this village that have been treated in a somewhat similar manner, but
+the filling has been carried farther. Both of these openings have been
+used as doorways at one stage of their reduction, the one on the right
+having been provided with a small transom; the combined opening was
+arranged wholly within the large one and under its transom. In the
+further conversion of this doorway into a small window, the secondary
+transom was blocked up with stone slabs, set on edge, and a small
+loophole window in the upper lefthand corner of the large opening was
+also closed. The masonry filling of the large opening on the left in
+this illustration shows no trace of a transom over the smaller doorway.
+A small loophole in the corner of this large opening is still left open.
+It will be noted that the original transoms of the large openings have
+in all these cases been entirely filled up with masonry.</p>
+
+<p class="illustration">
+<a name="plateCVIII" id="plateCVIII"> </a>
+<img src="images/plate108.jpg" width="450" height="275"
+alt="openings converted to windows"
+title="openings converted to windows" /></p>
+<p class="caption smallcaps">
+Plate CVIII. Large openings reduced to small windows, Oraibi.</p>
+
+<p>
+<a name="page201" id="page201"> </a>
+</p>
+
+<p>The clearness with which all the steps of the gradual reduction of
+these openings can be traced in the exposed stone work is in marked
+contrast with the obscurity of such features in Zuñi. In the latter
+group, however, examples are occasionally seen where a doorway has been
+partly closed with masonry, leaving enough space at the top for a
+window. Often in such cases the filled-in masonry is thinner than that
+of the adjoining wall, and consequently the form of the original doorway
+is easily traced. Fig. 93, from an adobe wall in
+Zuñi, gives an illustration of this. The entrance doorway of the
+detached Zuñi house illustrated in <a href="#plateLXXXIII">Pl. <span
+class="smallroman">LXXXIII</span></a>, has been similarly reduced in
+size, leaving traces of the original form in a slight offset. In modern
+times, both in Tusayan and Cibola, changes in the form and disposition
+of openings seem to have been made with the greatest freedom, but in the
+ancient pueblos altered doors or windows have rarely been found. The
+original placing of these features was more carefully considered, and
+the buildings were rarely subjected to unforeseen and irregular
+crowding.</p>
+
+<p class="illustration">
+<a name="fig93" id="fig93"> </a>
+<img src="images/fig93.png" width="300" height="256"
+alt="doorway converted to window"
+title="doorway converted to window" /></p>
+<p class="caption"><span class="smallcaps">Fig. 93.</span>
+A Zuñi doorway converted into a window.</p>
+
+<p>In both ancient and modern pueblo work, windows, used only as such,
+seem to have been universally quadrilateral, offsets and steps being
+confined exclusively to doorways.</p>
+
+<h6><a name="chapIV_4_11" id="chapIV_4_11">
+ROOF OPENINGS.</a></h6>
+
+<p>The line of separation between roof openings and doors and windows
+is, with few exceptions, sharply drawn. The origin of these roof-holes,
+whose use at the present time is widespread, was undoubtedly in the
+simple trap door which gave access to the rooms of the first terrace. <a
+href="#plateXXXVIII">Pl. <span class="smallroman">XXXVIII</span></a>, illustrating a court of Oraibi, shows
+in the foreground a kiva hatchway of the usual form seen in Tusayan.
+Here there is but little difference between the entrance traps of the
+ceremonial chambers and those that give access to the rooms of the first
+terrace; the former are in most cases somewhat larger to admit of
+ingress of costumed dancers,
+<a name="page202" id="page202"> </a>
+and the kiva traps are usually on a somewhat sharper slope, conforming
+to the pitch of the small dome-roof of the kivas, while those of the
+house terraces have the scarcely perceptible fall of the house roofs in
+which they are placed. In Zuñi, however, where the development and use
+of openings has been carried further, the kiva hatchways are
+distinguished by a specialized form that will be described later. An
+examination of the plans of the modern villages in <ins class="correction" title="text reads ‘Chapter’">Chapters</ins> <span class="smallroman">II</span> and <span class="smallroman">III</span> will
+show the general distribution of roof openings. Those used as hatchways
+are distinguishable by their greater dimensions, and in many cases by
+the presence of the ladders that give access to the rooms below. The
+smaller roof openings in their simplest form are constructed in
+essentially the same manner as the trap doors, and the width is usually
+regulated by the distance between two adjacent roof beams. The second
+series of small roof poles is interrupted at the sides of the opening,
+which sides are finished by means of carefully laid small stones in the
+same manner as are projecting copings. This finish is often carried
+several inches above the roof and crowned with narrow stone slabs, one
+on each of the four sides, forming a sort of frame which protects the
+mud plastered sides of the opening from the action of the rains.
+Examples of this simple type may be seen in many of the figures
+illustrating Chapters <span class="smallroman">II</span> and <span
+class="smallroman">III</span>, and in <a href="#plateXCVII">Pl.
+<span class="smallroman">XCVII</span></a>. Fig.
+94 also illustrates common types of roof openings seen in Zuñi. Two
+of the examples in this figure are
+<a name="page203" id="page203"> </a>
+of openings that give access to lower rooms. Occasional instances are
+seen in this pueblo in which an exaggerated height is given to the
+coping, the result slightly approaching a square chimney in effect. <a
+href="#fig95">Fig. 95</a> illustrates an example of this form.</p>
+
+<p class="illustration">
+<a name="fig94" id="fig94"> </a>
+<img src="images/fig94.png" width="432" height="352"
+alt="roof openings"
+title="roof openings" /></p>
+<p class="caption"><span class="smallcaps">Fig. 94.</span>
+Zuñi roof-openings.</p>
+
+<p>In Zuñi, where many minor variations in the forms of roof openings
+occur, certain of these variations appear to be related to roof
+drainage. These have three sides crowned in the usual manner with coping
+stones laid flat, but the fourth side is formed by setting a thin slab
+on edge, as illustrated in <a href="#fig96">Fig.&nbsp;96</a>.</p>
+
+<p class="illustration">
+<a name="fig95" id="fig95"> </a>
+<img src="images/fig95.png" width="332" height="218"
+alt="roof opening"
+title="roof opening" /></p>
+<p class="caption"><span class="smallcaps">Fig. 95.</span>
+A Zuñi roof opening, with raised coping.</p>
+
+<p><a href="#fig94">Fig. 94</a> also embodies two specimens of this
+form.</p>
+
+<p>
+<a name="page204" id="page204"> </a>
+The special object of this arrangement is in some cases difficult to
+determine; the raised end in all the examples on any one roof always
+takes the same direction, and in many cases its position relative to
+drainage suggests that it is a provision against flooding by rain on the
+slightly sloping roof; but this relation to drainage is by no means
+constant. Roof holes on the west side of the village in such positions
+as to be directly exposed to the violent sand storms that prevail here
+during certain months of the year seem in some cases to have in view
+protection against the flying sand. We do not meet with evidence of any
+fixed system to guide the disposition of this feature. In many cases
+these trap holes are provided with a thin slab of sandstone large enough
+to cover the whole opening, and used in times of rain. During fair
+weather these are laid on the roof, near the hole they are designed to
+cover, or lie tilted against the higher edge of the trap, as shown in <a
+href="#fig97">Fig.&nbsp;97</a>.</p>
+
+<p class="illustration">
+<a name="fig96" id="fig96"> </a>
+<img src="images/fig96.png" width="425" height="326"
+alt="roof openings"
+title="roof openings" /></p>
+<p class="caption"><span class="smallcaps">Fig. 96.</span>
+Zuñi roof-openings, with one elevated end.</p>
+
+<p>When the cover is placed on one of these holes, with a high slab at
+one end, it has a steep pitch, to shed water, and at the same time light
+and air are to some extent admitted, but it is very doubtful if this is
+the result of direct intention on the part of the builder. The possible
+development of this roof trap of unusual elevation into a rudimentary
+chimney has already been mentioned in the discussion of chimneys. A
+development in this direction would possibly be suggested by the
+desirability of separating the access by ladder from the inconvenient
+smoke hole. This must have been brought very forcibly to the attention
+of the Indian when, at the time a fire was burning in the fireplace,
+they were compelled to descend the ladder amidst the smoke and heat.</p>
+
+<p class="illustration">
+<a name="fig97" id="fig97"> </a>
+<img src="images/fig97.png" width="421" height="301"
+alt="roof hole"
+title="roof hole" /></p>
+<p class="caption"><span class="smallcaps">Fig. 97.</span>
+A Zuñi roof hole with cover.</p>
+
+<p>
+<a name="page205" id="page205"> </a>
+</p>
+
+<p>The survival to the present time of such an inconvenient arrangement
+in the kivas can be explained only on the ground of the intense
+conservatism of these people in all that pertains to religion. In the
+small roof holes methods of construction are seen which would not be so
+practicable on the larger scale of the ladder holes after which they
+have been modeled. In these latter the sides are built up of masonry or
+adobe, but the framing around them is more like the usual coping over
+walls. The stone that, set on edge in the small openings built for the
+admission of light, forms a raised end never occurs in these. The ladder
+for access rests against the coping.</p>
+
+<p>When occurring in connection with kivas, ladder holes have certain
+peculiarities in which they differ from the ordinary form used in
+dwellings. The opening in such cases is made of large size to admit
+dancers in costume with full paraphernalia. These, the largest roof
+openings to be found in Zuñi, are framed with pieces of wood. The
+methods of holding the pieces in place vary somewhat in minor detail. It
+is quite likely that recent examples, while still preserving the form
+and general appearance of the earlier ones, would bear evidence that the
+builders had used their knowledge of improved methods of joining and
+finishing.</p>
+
+<p class="illustration">
+<a name="fig98" id="fig98"> </a>
+<img src="images/fig98.png" width="439" height="296"
+alt="kiva trap door"
+title="kiva trap door" /></p>
+<p class="caption"><span class="smallcaps">Fig. 98.</span>
+Kiva trapdoor in Zuñi.</p>
+
+<p>As may readily be seen from the illustration, Fig.
+98, this framing, by the addition of a cross piece, divides the
+opening unequally. The smaller aperture is situated immediately above
+the fireplace (which conforms to the ancient type without chimney and
+located in the open floor of the room) and is very evidently designed to
+furnish an outlet to the smoke. In a chamber having no side doors or
+windows, or at most
+<a name="page206" id="page206"> </a>
+very small square windows, and consequently no drafts, the column of
+smoke and flame can often on still nights be seen rising vertically from
+the roof. The other portion of the opening containing the ladder is used
+for ingress and egress. This singular combination strongly suggests that
+at no very remote period one opening was used to answer both purposes,
+as it still does in the Tusayan kivas. It also suggests the direction in
+which differentiation of functions began to take place, which in the
+kiva was delayed and held back by the conservative religious feeling,
+when in the civil architecture it may have been the initial point of a
+development that culminated in the chimney, a&nbsp;development that was
+assisted in its later steps by suggestions from foreign sources. In the
+more primitively constructed examples the cross pieces seem to be simply
+laid on without any cutting in. The central piece is held in place by a
+peg set into each side piece, the weight and thrust of the ladder
+helping to hold it. The primitive arrangement here seen has been
+somewhat improved upon in some other cases, but it was not ascertained
+whether these were of later date or not.</p>
+
+<p>In the best made frames for kiva entrances the timbers are “halved”
+in the manner of our carpenters, the joint being additionally secured by
+a pin as shown in Fig.&nbsp;99.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig99" id="fig99"> </a>
+<img src="images/fig99.png" width="151" height="297"
+alt="trap door frame"
+title="trap door frame" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 99.</span>
+Halved and pinned<br/>
+trapdoor frame<br/>
+of a Zuñi kiva.
+</td>
+</tr>
+</table>
+
+<p>The use of a frame of wood in these trapdoors dates back to a
+comparatively high antiquity, and is not at all a modern innovation, as
+one would at first be inclined to believe. Their use in so highly
+developed a form in the ceremonial chamber is an argument in favor of
+antiquity. Only two examples were discovered by Mr. L.&nbsp;H. Morgan in
+a ruined pueblo on the Animas. “One of these measured 16 by 17 inches
+and the other was 16 inches square. Each was formed in the floor by
+pieces of wood put together. The work was neatly done.”<a class="tag"
+name="tag8a" id="tag8a" href="#note8a">8</a></p>
+
+<p>Unfortunately, Mr. Morgan does not describe in detail the manner in
+which the joining was effected, or whether the pieces were halved or cut
+to fit. It seems hardly likely, considering the rude facilities
+possessed by the ancients, that the enormous labor of reducing large
+pieces of wood to such interfitting shapes would have been undertaken. A
+certain neatness of finish would undoubtedly be attained by arranging
+the principal roof beams and the small poles that cross them at right
+angles, in the usual careful manner of the ancient builders. The kiva
+roof opening, with the hole serving for access and smoke exit, is
+paralleled
+<a name="page207" id="page207"> </a>
+in the excavated lodges of the San Francisco Mountains, where a single
+opening served this double purpose. A&nbsp;slight recess or excavation
+in the side of the entrance shaft evidently served for the exit of smoke.</p>
+
+<p>At the village of Acoma the kiva trapdoors differ somewhat from the
+Zuñi form. The survey of this village was somewhat hasty, and no
+opportunity was afforded of ascertaining from the Indians the special
+purpose of the mode of construction adopted. The roof hole is divided,
+as in Zuñi, but the portion against which the ladder leans, instead of
+being made into a smoke vent, is provided with a small roof. These roof
+holes to the ceremonial chamber are entered directly from the open air,
+while in the dwelling rooms it seems customary (much more customary than
+at Zuñi) to enter the lower stories through trapdoors within upper
+rooms. In many instances second-story rooms have no exterior rooms but
+are entered from rooms above, contrary to the usual arrangement in both
+Tusayan and Cibola. All six of the kivas in this village are provided
+with this peculiarly constructed opening.</p>
+
+<p>In Zuñi close crowding of the cells has led to an exceptionally
+frequent use of roof-lights and trapdoors. The ingenuity of the builders
+was greatly taxed to admit sufficient light to the inner rooms. The roof
+hole, which was originally used only to furnish the means of access and
+light for the first terrace, as is still the case in Tusayan, is here
+used in all stories indiscriminately, and principally for light and air.
+In large clusters there are necessarily many dark rooms, which has led
+to the employment of great numbers of roof holes, more or less directly
+modeled after the ordinary trapdoor. Their occurrence is particularly
+frequent in the larger clusters of the village, as in house No.&nbsp;1. The
+exceptional size of this pile, and of the adjoining house No.&nbsp;4, with
+the consequent large proportion of dark rooms, have taxed the ingenuity
+of the Zuñi to the utmost, and as a result we see roof openings here
+assuming a degree of importance not found elsewhere.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig100" id="fig100"> </a>
+<img src="images/fig100a.png" width="183" height="52"
+alt="section of opening"
+title="section of opening" /></td>
+</tr>
+<tr>
+<td class="picture">
+<img src="images/fig100b.png" width="191" height="136"
+alt="section of opening"
+title="section of opening" /></td>
+</tr>
+<tr>
+<td class="picture">
+<img src="images/fig100c.png" width="197" height="163"
+alt="section of opening"
+title="section of opening" /></td>
+</tr>
+<tr>
+<td class="caption">
+<span class="smallcaps">Fig. 100.</span>
+Typical sections<br/>
+of Zuñi oblique openings.
+</td>
+</tr>
+</table>
+
+<p>In addition to roof openings of the type described, the dense
+clustering of the Zuñi houses has led to the invention of a curious
+device for lighting inner rooms not reached by ordinary external
+openings. This consists of an opening, usually of oval or subrectangular
+form in elevation, placed at the junction of the roof with a vertical
+wall. This opening is carried down obliquely between the roofing beams,
+as shown in the sections, Fig. 100, so that the
+light is admitted within the room just at the junction of the ceiling
+and the inner face of the wall. With the meager facilities and rude
+methods of the Zuñi, this peculiar arrangement often involved weak
+construction, and the openings, placed so low in the wall, were in
+danger of admitting water from the roof. The difficulty of obtaining the
+desired light by this device was much lessened where the outer roof was
+somewhat lower than the ceiling within.</p>
+
+<p>
+<a name="page208" id="page208"> </a>
+These oblique openings occur not only in the larger clusters of houses
+Nos. 1 and&nbsp;4, but also in the more openly planned portions of the
+village, though they do not occur either at Acoma or in the Tusayan
+villages. They afford an interesting example of the transfer and
+continuance in use of a constructional device developed in one place by
+unusual conditions to a new field in which it was uncalled for, being
+less efficient and more difficult of introduction than the devices in
+ordinary use.</p>
+
+<h6><a name="chapIV_4_12" id="chapIV_4_12">
+FURNITURE.</a></h6>
+
+<p>The pueblo Indian has little household furniture, in the sense in
+which the term is commonly employed; but his home contains certain
+features which are more or less closely embodied in the house
+construction and which answers the purpose. The suspended pole that
+serves as a clothes rack for ordinary wearing apparel, extra blankets,
+robes, etc., has already been described in treating of interiors.
+Religious costumes and ceremonial paraphernalia are more carefully
+provided for, and are stored away in some hidden corner of the dark
+storerooms.</p>
+
+<p>The small wall niches, which are formed by closing a window with a
+thin filling-in wall, and which answer the purpose of cupboards or
+receptacles
+<a name="page209" id="page209"> </a>
+for many of the smaller household articles, have also been described and
+illustrated in connection with the Zuñi interior (<a href="#plateLXXXVI">Pl. <span class="smallroman">LXXXVI</span></a>).</p>
+
+<p>In many houses, both in Tusayan and in Cibola, shelves are
+constructed for the more convenient storage of food, etc. These are
+often constructed in a very primitive manner, particularly in the former
+province. An unusually frail example may be seen in <a href="#fig67">Fig. 67</a>, in connection with a fireplace.
+Fig. 101, showing a series of mealing stones in a Tusayan
+house, also illustrates a rude shelf in the corner of the room,
+supported at one end by an upright stone slab and at the other by a
+projecting wooden peg. Shelves made of sawed boards are occasionally
+seen, but as a rule such boards are considered too valuable to be used
+in this manner. A&nbsp;more common arrangement, particularly in Tusayan,
+is a combination of three or four slender poles placed side by side,
+2&nbsp;or 3 inches apart, forming a rude shelf, upon which trays of
+food are kept.</p>
+
+<p class="illustration">
+<a name="fig101" id="fig101"> </a>
+<img src="images/fig101.png" width="426" height="411"
+alt="mealing stones"
+title="mealing stones" /></p>
+<p class="caption"><span class="smallcaps">Fig. 101.</span>
+Arrangement of mealing stones in a Tusayan house.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig102" id="fig102"> </a>
+<img src="images/fig102.png" width="191" height="203"
+alt="grain bin"
+title="grain bin" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 102.</span>
+A Tusayan grain bin.
+</td>
+</tr>
+</table>
+
+<p>Another device for the storage of food, occasionally seen in the
+pueblo house, is a pocket or bin built into the corner of a room.
+Fig. 101, illustrating the plan of a Tusayan house,
+indicates the position of one of these cupboard-like inclosures.
+A&nbsp;sketch of this specimen is shown in
+<a name="page210" id="page210"> </a>
+Fig. 102. This bin, used for the storage of
+beans, grain, and the like, is formed by cutting off a corner of the
+room by setting two stone slabs into the floor, and it is covered with
+the mud plastering which extends over the neighboring walls.</p>
+
+<p>A curious modification of this device was seen in one of the inner
+rooms in Zuñi, in the house of José Pié. A&nbsp;large earthen jar, apparently
+an ordinary water vessel, was built into a projecting masonry bench near
+the corner of the room in such a manner that its rim projected less than
+half an inch above its surface. This jar was used for the same purpose
+as the Tusayan corner bin.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig103" id="fig103"> </a>
+<img src="images/fig103.png" width="331" height="115"
+alt="plume box"
+title="plume box" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 103.</span>
+A Zuñi plume box.
+</td>
+</tr>
+</table>
+
+<p>Some of the Indians of the present time have chests or boxes in which
+their ceremonial blankets and paraphernalia are kept. These of course
+have been introduced since the days of American boards and boxes. In
+Zuñi, however, the Indians still use a small wooden receptacle for the
+precious ceremonial articles, such as feathers and beads. This is an
+oblong box, provided with a countersunk lid, and usually carved from a
+<ins class="correction" title="text reads ‘single / single’ at line break">single</ins> piece of wood.
+Typical specimens are illustrated in Figs. 103
+and 104. The workmanship displayed in these
+objects is not beyond the aboriginal skill of the native workman, and
+their use is undoubtedly ancient.</p>
+
+<p class="floatright picture">
+<img src="images/fig104top.png" width="436" height="109"
+alt="plume box"
+title="plume box" /></p>
+
+<p class="floatright picture">
+<img src="images/fig104bottom.png" width="78" height="63"
+alt="plume box"
+title="plume box" /></p>
+
+<p class="floatright capleft noclear">
+<a name="fig104" id="fig104"> </a>
+<span class="smallcaps">Fig. 104.</span>
+A Zuñi plume box.</p>
+
+<p>
+<a name="page211" id="page211"> </a>
+</p>
+
+<p>Perhaps the most important article of furniture in the home of the
+pueblo Indian is the mealing trough, containing the household milling
+apparatus. This trough usually contains a series of three metates of
+varying degrees of coarseness firmly fixed in a slanting position most
+convenient for the workers. It consists of thin slabs of sandstone set
+into the floor on edge, similar slabs forming the separating partitions
+between the compartments. This arrangement is shown in Fig. 105,
+illustrating a Tusayan mealing trough. Those of
+Zuñi are of the same form, as maybe seen in the illustration of a Zuñi
+interior, Fig. 105. Occasionally in recently
+constructed specimens the thin inclosing walls of the trough are made of
+planks. In the example illustrated one end of the series is bounded by a
+board, all the other walls and divisions being made of the usual stone
+slabs. The metates themselves are not usually more than 3&nbsp;inches in
+thickness. They are so adjusted in their setting of stones and mortar as
+to slope away from the operator at the proper angle. This arrangement of
+the mealing stones is characteristic of the more densely clustered
+communal houses of late date. In the more primitive house the mealing
+stone was usually a single large piece of cellular basalt, or similar
+rock, in which a broad, sloping depression was carved, and which could
+be transported from place to place. Fig. 106
+illustrates an example of this type from the vicinity of Globe, in
+southern Arizona. The stationary mealing trough of the present day is
+undoubtedly the successor of the earner moveable form, yet it was in use
+among the pueblos at the time of the first Spanish expedition, as the
+following extract from Castañeda’s account<a class="tag" name="tag9a" id="tag9a" href="#note9a">9</a>
+of Cibola will show. He says a special
+room is designed to grind the grain: “This last is apart, and contains a
+furnace and three stones made fast in {no para} masonry.
+<a name="page212" id="page212"> </a>
+Three women sit down before these stones; the first crushes the grain,
+the second brays it, and the third reduces it entirely to powder.” It
+will be seen how exactly this description fits both the arrangement and
+the use of this mill at the present time. The perfection of mechanical
+devices and the refinement of methods here exhibited would seem to be in
+advance of the achievement of this people in other directions.</p>
+
+<p class="illustration">
+<a name="fig105" id="fig105"> </a>
+<img src="images/fig105.png" width="460" height="183"
+alt="mealing trough"
+title="mealing trough" /></p>
+<p class="caption"><span class="smallcaps">Fig. 105.</span>
+A Tusayan mealing trough.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig106" id="fig106"> </a>
+<img src="images/fig106.png" width="187" height="111"
+alt="metate"
+title="metate" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 106.</span>
+An ancient pueblo<br/>
+form of metate.
+</td>
+</tr>
+</table>
+
+<p>The grinding stones of the mealing apparatus are of correspondingly
+varying degrees of roughness; those of basalt or lava are used for the
+first crushing of the corn, and sandstone is used for the final grinding
+on the last metate of the series. By means of these primitive appliances
+the corn meal is as finely ground as our wheaten flour. The grinding
+stones now used are always flat, as shown in Fig.
+105, and differ from those that were used with the early massive
+type of metate in being of cylindrical form.</p>
+
+<p>One end of the series of milling troughs is usually built against the
+wall near the corner of the room. In some cases, where the room is quite
+narrow, the series extends across from wall to wall. Series comprising
+four mealing stones, sometimes seen in Zuñi, are very generally arranged
+in this manner. In all cases sufficient floor space is left behind the
+mills to accommodate the women who kneel at their work. <a href="#plateLXXXVI">Pl. <span class="smallroman">LXXXVI</span></a>
+illustrates an unusual arrangement, in which the fourth mealing stone is
+set at right angles to the other stones of the series.</p>
+
+<p>Mortars are in general use in Zuñi and Tusayan households. As a rule
+they are of considerable size, and made of the same material as the
+rougher mealing stones. They are employed for crushing and grinding the
+chile or red pepper that enters so largely into the food of the Zuñi,
+and whose use has extended to the Mexicans of the same region. These
+mortars have the ordinary circular depressions and are used with a round
+pestle or crusher, often of somewhat long, cylindrical form for
+convenience in handling.</p>
+
+<p>Parts of the apparatus for indoor blanket weaving seen in some of the
+pueblo houses may be included under the heading of furniture. These
+consist of devices for the attachment of the movable parts of the loom,
+which need not be described in this connection. In some of the Tusayan
+houses may be seen examples of posts sunk in the floor provided with
+holes for the insertion of cords for attaching and tightening the warp,
+similar to those built into the kiva floors, illustrated in <a href="#fig31">Fig. 31</a>. No device of this kind was seen in Zuñi. A&nbsp;more
+primitive appliance for such work is seen in both groups of pueblos in
+an occasional stump of a beam or short pole projecting from the wall at
+varying heights. Ceiling beams are also used for stretching the warp
+both in blanket and belt weaving.</p>
+
+<p>The furnishings of a pueblo house do not include tables and chairs.
+The meals are eaten directly from the stone-paved floor, the
+participants rarely having any other seat than the blanket that they
+wear, rolled up or folded into convenient form. Small stools are
+sometimes seen, but
+<a name="page213" id="page213"> </a>
+the need of such appliances does not seem to be keenly felt by these
+Indians, who can, for hours, sit in a peculiar squatting position on
+their haunches, without any apparent discomfort. Though moveable chairs
+or stools are rare, nearly all of the dwellings are provided with the
+low ledge or bench around the rooms, which in earlier times seems to
+have been confined to the kivas. A&nbsp;slight advance on this fixed form of
+seat was the stone block used in the Tusayan kivas, described on <a href="#page132">p.&nbsp;132</a>, which at the same time served a useful
+purpose in the adjustment of the warp threads for blanket weaving.</p>
+
+<table class="figright" summary="illustration">
+<tr>
+<td class="picture">
+<a name="fig107" id="fig107"> </a>
+<img src="images/fig107a.png" width="157" height="177"
+alt="stool"
+title="stool" /></td>
+</tr>
+<tr>
+<td class="picture">
+<img src="images/fig107b.png" width="170" height="108"
+alt="stool"
+title="stool" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 107.</span>
+Zuñi stools.
+</td>
+</tr>
+<tr>
+<td class="picture">
+<a name="fig108" id="fig108"> </a>
+<img src="images/fig108.png" width="159" height="184"
+alt="chair"
+title="chair" /></td>
+</tr>
+<tr>
+<td class="caption"><span class="smallcaps">Fig. 108.</span>
+A Zuñi chair.
+</td>
+</tr>
+</table>
+
+<p>The few wooden stools observed show very primitive workmanship, and
+are usually made of a single piece of wood. Fig.
+107 illustrates two forms of wooden stool from Zuñi. The small
+three-legged stool on the left has been cut from the trunk of a piñon
+tree in such a manner as to utilize as legs the three branches into
+which the main stem separated. The other stool illustrated is also cut
+from a single piece of tree trunk, which has been reduced in weight by
+cutting out one side, leaving the two ends for support.</p>
+
+<p>A curiously worked chair of modern form seen in Zuñi is illustrated
+in Fig. 108. It was difficult to determine the
+antiquity of this specimen, as its rickety condition may have been due
+to the clumsy workmanship quite as much as to the effects of age. Rude
+as is the workmanship, however, it was far beyond the unaided skill of
+the native craftsman to join and mortise the various pieces that go to
+make up this chair. Some decorative effect has been sought here, the
+ornamentation, made up of notches and sunken grooves, closely resembling
+that on the window sash illustrated in <a href="#fig88">Fig. 88</a>,
+and somewhat <ins class="correction"
+title="text reads ‘similiar’">similar</ins>
+in effect to the carving on the Spanish beams
+seen in the Tusayan kivas. The whole construction strongly suggests
+Spanish influence.</p>
+
+<p>
+<a name="page214" id="page214"> </a>
+Even the influence of Americans has as yet failed to bring about the use
+of tables or bedsteads among the pueblo Indians. The floor answers all
+the purposes of both these useful articles of furniture. The food dishes
+are placed directly upon it at meal times, and at night the blankets,
+rugs, and sheep skins that form the bed are spread directly upon it.
+These latter, during the day, are suspended upon the clothes pole
+previously described and illustrated.</p>
+
+<h6><a name="chapIV_4_13" id="chapIV_4_13">
+CORRALS AND GARDENS.</a></h6>
+
+<p>The introduction of domestic sheep among the pueblos has added a new
+and important element to their mode of living, but they seem never to
+have reached a clear understanding as to how these animals should be
+cared for. No forethought is exercised to separate the rams so that the
+lambs will be born at a favorable season. The flocks consist of sheep
+and goats which are allowed to run together at all tunes. Black sheep
+and some with a grayish color of wool are often seen among them. No
+attempt is made to eliminate these dark-fleeced members of the flock,
+since the black and gray wool is utilized in its natural color in
+producing many of the designs and patterns of the blankets woven by
+these people. The flocks are usually driven up into the corrals or
+inclosures every evening, and are taken out again in the morning,
+frequently at quite a late hour. This, together with the time consumed
+in driving them to and from pasture, gives them much less chance to
+thrive than those of the nomadic Navajo. In Tusayan the corrals are
+usually of small size and inclosed by thin walls of rude stone work.
+This may be seen in the foreground of <a href="#plateXXI">Pl. <span
+class="smallroman">XXI</span></a>. Pl. <span
+class="smallroman">CIX</span> illustrates several corrals just
+outside the village of Mashongnavi similarly constructed, but of
+somewhat larger size. Some of the corrals of Oraibi are of still larger
+size, approaching in this respect the corrals of Cibola. The Oraibi pens
+are rudely rectangular in form, with more or less rounded angles, and
+are also built of rude masonry.</p>
+
+<p class="illustration">
+<a name="plateCIX" id="plateCIX"> </a>
+<img src="images/plate109.png" width="422" height="237"
+alt="corrals and kiva"
+title="corrals and kiva" /></p>
+<p class="caption smallcaps">
+Plate CIX. Stone corrals and kiva of Mashongnavi.</p>
+
+<p>In the less important villages of Cibola stone is occasionally used
+for inclosing the corrals, as in Tusayan, as may be seen in <a href="#plateLXX">Pl. <span class="smallroman">LXX</span></a>, illustrating
+an inclosure of this character in the court of the farming pueblo of
+Pescado. Pl. <span class="smallroman">CX</span> illustrates in detail the manner in which
+stone work is combined with the use of rude stakes in the construction
+of this inclosure. On the rugged sites of the Tusayan villages corrals
+are placed wherever favorable nooks happen to be found in the rocks, but
+at Zuñi, built in the comparatively open plain, they form a nearly
+continuous belt around the pueblo. Here they are made of stakes and
+brush held in place by horizontal poles tied on with strips of rawhide.
+The rudely contrived gateways are supported in natural forks at the top
+and sides of posts. Often one or two small inclosures used for burros or
+horses occur near these sheep corrals. The construction is identical
+with those above described and is very rude. It is illustrated in <a
+href="#fig109">Fig. 109</a>, which shows the manner in which the
+stakes are arranged, and also
+<a name="page215" id="page215"> </a>
+the method of attaching the horizontal tie-pieces. The construction of
+these inclosures is frail, and the danger of pushing the stakes over by
+pressure from within is guarded against by employing forked braces that
+abut against horizontal pieces tied on 4&nbsp;or 5 feet from the ground.
+Reference to <a href="#plateLXXIV">Pl. <span class="smallroman">LXXIV</span></a> will illustrate this construction.</p>
+
+<p class="illustration">
+<a name="plateCX" id="plateCX"> </a>
+<img src="images/plate110.png" width="466" height="268"
+alt="corral"
+title="corral" /></p>
+<p class="caption smallcaps">
+Plate CX. Portion of a corral in Pescado.</p>
+
+<p>Within the village of Zuñi inclosures resembling miniature corrals
+are sometimes seen built against the houses; these are used as cages for
+eagles. A&nbsp;number of these birds are kept in Zuñi for the sake of their
+plumage, which is highly valued for ceremonial purposes. <a href="#plateCXI">Pl. <span class="smallroman">CXI</span></a> illustrates
+one of these coops, constructed partly with a thin adobe wall and partly
+with stakes arranged like those of the corrals.</p>
+
+<p class="illustration">
+<a name="fig109" id="fig109"> </a>
+<img src="images/fig109.png" width="299" height="447"
+alt="corral construction"
+title="corral construction" /></p>
+<p class="caption"><span class="smallcaps">Fig. 109.</span>
+Construction of a Zuñi corral.</p>
+
+<p>In both of the pueblo groups under discussion, small gardens
+contiguous to the villages are frequent. Those of Tusayan are walled in
+with stone.</p>
+
+<p>Within the pueblo of Zuñi a small group of garden patches is inclosed
+by stake fences, but the majority of the gardens in the vicinity of the
+<a name="page216" id="page216"> </a>
+principal villages are provided with low walls of mud masonry. The small
+terraced gardens here are near the river bank on the southwest and
+southeast sides of the village. The inclosed spaces, averaging in size
+about 10 feet square, are used for the cultivation of red peppers,
+beans, etc., which, during the dry season, are watered by hand. These
+inclosures, situated close to the dwellings, suggest a probable
+explanation for similar inclosures found in many of the ruins in the
+southern and eastern portions of the ancient pueblo region. Mr.
+Bandelier was informed by the Pimas<a class="tag" name="tag10a" id="tag10a" href="#note10a">10</a> that these inclosures were ancient
+gardens. He concluded that since acequias were frequent in the immediate
+vicinity these gardens must have been used as reserves in case of war,
+when the larger fields were not available, but the manner of their
+occurrence in Zuñi suggests rather that they were intended for
+cultivation of special crops, such as pepper, beans, cotton, and perhaps
+also of a variety of
+<a name="page217" id="page217"> </a>
+tobacco&mdash;corn, melons, squashes, etc., being cultivated elsewhere
+in larger tracts. There is a large group of gardens on the bank of the
+stream at the southeastern corner of Zuñi, and here there are slight
+indications of terracing. A&nbsp;second group on the steeper slope at the
+southwestern corner is distinctly terraced. Small walled gardens of the
+same type as these Zuñi examples occur in the vicinity of some of the
+Tusayan villages on the middle mesa. They are located near the springs
+or water pockets, apparently to facilitate watering by hand. Some of
+them contain a few small peach trees in addition to the vegetable crops
+ordinarily met with. The clusters here are, as a rule, smaller than
+those of Zuñi, as there is much less space available in the vicinity of
+the springs. At one point on the west side of the first mesa, a&nbsp;few
+miles above Walpi, a&nbsp;copious spring serves to irrigate quite an
+extensive series of small garden patches distributed over lower
+slopes.</p>
+
+<p class="illustration">
+<a name="plateCXI" id="plateCXI"> </a>
+<img src="images/plate111.png" width="447" height="346"
+alt="eagle cage"
+title="eagle cage" /></p>
+<p class="caption smallcaps">
+Plate CXI. Zuñi eagle-cage.</p>
+
+<p>At several points around Zuñi, usually at a greater distance than the
+terrace gardens, are fields of much larger area inclosed in a similar
+manner. Their inclosure was simply to secure them against the
+depredations of stray burros, so numerous about the village. When the
+crops are gathered in the autumn, several breaches are made in the low
+wall and the burros are allowed to luxuriate on the remains. <a href="#plateLIX">Pl. <span class="smallroman">LIX</span></a> indicates the
+position of the large cluster of garden patches on the southeastern side
+of Zuñi. Fig. 110, taken from photographs made
+in 1873, shows several of these small gardens with their growing crops
+and a large field of corn beyond. The workmanship of the garden walls as
+contrasted with that of the house masonry has been already described and
+is illustrated in <a href="#plateXC">Pl. <span class="smallroman">XC</span></a>.</p>
+
+<p class="illustration">
+<a name="fig110" id="fig110"> </a>
+<img src="images/fig110.png" width="437" height="443"
+alt="Zuñi gardens"
+title="Zuñi gardens" /></p>
+<p class="caption"><span class="smallcaps">Fig. 110.</span>
+Gardens of Zuñi.</p>
+
+<h6><a name="chapIV_4_14" id="chapIV_4_14">
+“KISI” CONSTRUCTION.</a></h6>
+
+<p>Lightly constructed shelters for the use of those in charge of fields
+were probably a constant accompaniment of pueblo horticulture. Such
+shelters were built of stone or of brush, according to which material
+was most available.</p>
+
+<p>In very precipitous localities, as the Canyon de Chelly, these
+outlooks naturally became the so-called cliff-dwellings or isolated
+shelters. In Cibola single stone houses are in common use, not to the
+exclusion, however, of the lighter structures of brush, while in Tusayan
+these lighter forms, of which there are a number of well defined
+varieties, are almost exclusively used. A&nbsp;detailed study of the methods
+of construction employed in these rude shelters would be of great
+interest as affording a comparison both with the building methods of the
+ruder neighboring tribes and with those adopted in constructing some of
+the details of the terraced house; the writer, however, did not have an
+opportunity of making an examination of all the field shelters used in
+these pueblos. Two of the simpler types are the “tuwahlki,” or watch
+house, and the “kishoni,” or uncovered shade. The former is constructed
+by first
+<a name="page218" id="page218"> </a>
+planting a short forked stick in the ground, which supports one end of a
+pole, the other end resting on the ground. The interval between this
+ridge pole and the ground is roughly filled in with slanting sticks and
+brush, the inclosed space being not more than 3&nbsp;feet in height, with a
+maximum width of four or five feet. These shelters are for the
+accommodation of the children who watch the melon patches until the
+fruit is harvested.</p>
+
+<p class="illustration">
+<a name="fig111" id="fig111"> </a>
+<img src="images/fig111.png" width="329" height="418"
+alt="uncovered shade in Tusayan"
+title="uncovered shade in Tusayan" /></p>
+<p class="caption"><span class="smallcaps">Fig. 111.</span>
+Kishoni, or uncovered shade, of Tusayan.</p>
+
+<p>The kishoni, or uncovered shade, illustrated in Fig. 111,
+is perhaps the simplest form of shelter
+employed. Ten or a dozen cottonwood saplings are set firmly into the
+ground, so as to form a slightly curved inclosure with convex side
+toward the south. Cottonwood and willow boughs in foliage, grease-wood,
+sage brush, and rabbit brush are laid with stems upward in even rows
+against these saplings to a height of 6&nbsp;or 7 feet. This light material
+is held in place by bands of small cottonwood branches laid in
+continuous horizontal lines around the outside of the shelter and these
+are attached to the upright saplings with cottonwood and willow
+twigs.</p>
+
+<p class="illustration">
+<a name="fig112" id="fig112"> </a>
+<img src="images/fig112.png" width="413" height="260"
+alt="Tusayan field shelter"
+title="Tusayan field shelter" /></p>
+<p class="caption"><span class="smallcaps">Fig. 112.</span>
+A Tusayan field shelter, from southwest.</p>
+
+<p>
+<a name="page219" id="page219"> </a>
+Figs. 112 and 113
+illustrate a much more elaborate field shelter in Tusayan. As may
+readily be seen from the figures this shelter covers a considerable
+area; it will be seen too that the upright branches that inclose two of
+its sides are of sufficient height to considerably shade the level roof
+of poles and brush, converting it into a comfortable retreat.</p>
+
+<p class="illustration">
+<a name="fig113" id="fig113"> </a>
+<img src="images/fig113.png" width="443" height="285"
+alt="Tusayan field shelter"
+title="Tusayan field shelter" /></p>
+<p class="caption"><span class="smallcaps">Fig. 113.</span>
+A Tusayan field shelter, from northeast.</p>
+
+<p>
+<a name="page220" id="page220"> </a>
+</p>
+
+<h6><a name="chapIV_4_15" id="chapIV_4_15">
+ARCHITECTURAL NOMENCLATURE.</a></h6>
+
+<p>The following nomenclature, collected by Mr. Stephen, comprises the
+terms commonly used in designating the constructional details of Tusayan
+houses and kivas:</p>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td>Kiko´li</td>
+<td><p>The ground floor rooms forming the first terrace.</p></td>
+</tr>
+<tr>
+<td>Tupu´bi</td>
+<td><p>The roofed recess at the end of the first terrace.</p></td>
+</tr>
+<tr>
+<td>Ah´pabi</td>
+<td class="middle" rowspan="2">A terrace roof.</td>
+</tr>
+<tr>
+<td>Ih´pobi</td>
+<!--<td></td>-->
+</tr>
+<tr>
+<td>Tupat´ca&nbsp;ih´pobi</td>
+<td><p>The third terrace, used in common as a loitering place.</p></td>
+</tr>
+<tr>
+<td>Tumtco´kobi</td>
+<td><p>“The place of the flat stone;” small rooms in which “piki,” or
+paper-bread, is baked. “Tuma,” the piki stone, and “tcok” describing its
+flat position.</p></td>
+</tr>
+<tr>
+<td>Tupa´tca</td>
+<td><p>“Where you sit overhead;” the third story.</p></td>
+</tr>
+<tr>
+<td>O´mi Ah´pabi</td>
+<td><p>The second story; a&nbsp;doorway always opens from it upon the roof of
+the “kiko´li.”</p></td>
+</tr>
+<tr>
+<td>Kitcobi</td>
+<td><p>“The highest place;” the fourth story.</p></td>
+</tr>
+<tr>
+<td>Tuhkwa</td>
+<td><p>A wall.</p></td>
+</tr>
+<tr>
+<td>Puce</td>
+<td><p>An outer corner.</p></td>
+</tr>
+<tr>
+<td>Apaphucua</td>
+<td><p>An inside corner.</p></td>
+</tr>
+<tr>
+<td>Lestabi</td>
+<td><p>The main roof timbers.</p></td>
+</tr>
+<tr>
+<td>Wina´kwapi</td>
+<td><p>Smaller cross poles. “Winahoya,” a small pole, and “Kwapi,” in
+place.</p></td>
+</tr>
+<tr>
+<td>Kaha´b kwapi</td>
+<td><p>The willow covering.</p></td>
+</tr>
+<tr>
+<td>Süibi kwapi</td>
+<td><p>The brush covering.</p></td>
+</tr>
+<tr>
+<td>Si´hü kwapi</td>
+<td><p>The grass covering.</p></td>
+</tr>
+<tr>
+<td>Kiam´ balawi</td>
+<td><p>The mud plaster of roof covering, “Balatle´lewini,” to
+spread.</p></td>
+</tr>
+<tr>
+<td>Tcukat´cvewata</td>
+<td><p>Dry earth covering the roof. “Tcuka,” earth, “katuto,” to sit,
+and “at´cvewata,” one laid above another.</p></td>
+</tr>
+<tr>
+<td>Kiami</td>
+<td><p>An entire roof.</p></td>
+</tr>
+<tr>
+<td>Kwo´pku</td>
+<td><p>The fireplace.</p></td>
+</tr>
+<tr>
+<td>Kwi´tcki</td>
+<td><p>“Smoke-house,” an inside chimney-hood.</p></td>
+</tr>
+<tr>
+<td>Sibvu´tütük´mula</td>
+<td><p>A series of bottomless jars piled above each other, and luted
+together as a chimney-top.</p></td>
+</tr>
+<tr>
+<td>Sibvu´</td>
+<td><p>A bottomless earthen vessel serving as a chimney pot.</p></td>
+</tr>
+<tr>
+<td>Bok´ci</td>
+<td><p>Any small hole in a wall, or roof, smaller than a
+doorway.</p></td>
+</tr>
+<tr>
+<td>Hi´tci</td>
+<td><p>An opening, such as a doorway. This term is also applied to a gap
+in a cliff.</p></td>
+</tr>
+<tr>
+<td>Hi´tci Kalau´wata</td>
+<td><p>A door frame.</p></td>
+</tr>
+<tr>
+<td>Tûñañ´îata</td>
+<td><p>A lintel; literally, “that holds the sides in place.”</p></td>
+</tr>
+<tr>
+<td>Wuwûk´pi</td>
+<td><p>“The place step;” the door sill.</p></td>
+</tr>
+<tr>
+<td>Niñuh´pi</td>
+<td><p>A handhold; the small pole in a doorway below the
+lintel.</p></td>
+</tr>
+<tr>
+<td>Pana´ptca&nbsp;ütc´pi&nbsp;bok´ci</td>
+<td><p>A window; literally, “glass covered opening.”</p></td>
+</tr>
+<tr>
+<td>Ut´cpi</td>
+<td><p>A cover.</p></td>
+</tr>
+<tr>
+<td>Ahpa´bütc´pi</td>
+<td class="middle" rowspan="2"><p>A door. “Apab,” inside; wina, a
+pole.</p></td>
+</tr>
+<tr>
+<td>Wina´ütc´pi</td>
+<!--<td></td>-->
+</tr>
+<tr>
+<td>O´wa ütc´ppî</td>
+<td><p>“Stone cover,” a stone slab.</p></td>
+</tr>
+<tr>
+<td>
+<a name="page221" id="page221"> </a>
+Tüi´ka</td>
+<td><p>A projection in the wall of a room suggesting a partition, such
+as shown in <a href="#plateLXXXV">Pl. <span class="smallroman">LXXXV</span></a>. The same term is applied to a projecting
+cliff in a mesa.</p></td>
+</tr>
+<tr>
+<td>Kiam´i</td>
+<td><p>An entire roof. The main beams, cross poles, and roof layers have
+the same names as in the kiva, given later.</p></td>
+</tr>
+<tr>
+<td>Wĭna´kü´i</td>
+<td><p>Projecting poles; rafters extending beyond the walls.</p></td>
+</tr>
+<tr>
+<td>Bal´kakini</td>
+<td><p>“Spread out;” the floor.</p></td>
+</tr>
+<tr>
+<td>O´tcokpü´h</td>
+<td><p>“Leveled with stones;” a raised level for the
+foundation.</p></td>
+</tr>
+<tr>
+<td>Ba´lkakini tü´wi</td>
+<td><p>“Floor ledge;” the floor of one room raised above that of an
+adjoining one.</p></td>
+</tr>
+<tr>
+<td>Hako´la</td>
+<td><p>“Lower place;” the floor of a lower room. Sand dunes in a valley
+are called “Hakolpi.”</p></td>
+</tr>
+<tr>
+<td>Ko´ltci</td>
+<td><p>A shelf.</p></td>
+</tr>
+<tr>
+<td>Owako´ltci</td>
+<td><p>A stone shelf.</p></td>
+</tr>
+<tr>
+<td>Ta´pü kü´ita</td>
+<td><p>A support for a shelf.</p></td>
+</tr>
+<tr>
+<td>Wina´koltci</td>
+<td><p>A hewn plank shelf.</p></td>
+</tr>
+<tr>
+<td>Kokiüni</td>
+<td><p>A wooden peg in a wall.</p></td>
+</tr>
+<tr>
+<td>Tületa</td>
+<td><p>A shelf hanging from the ceiling.</p></td>
+</tr>
+<tr>
+<td>Tület´haipi</td>
+<td><p>The cords for suspending a shelf.</p></td>
+</tr>
+<tr>
+<td>Tükûlci</td>
+<td><p>A niche in the wall.</p></td>
+</tr>
+<tr>
+<td>Tükûli</td>
+<td><p>A stone mortar.</p></td>
+</tr>
+<tr>
+<td>Ma´ta</td>
+<td><p>The complete mealing apparatus for grinding corn.</p></td>
+</tr>
+<tr>
+<td>Owa´mata</td>
+<td><p>The trough or outer frame of stone slabs.</p></td>
+</tr>
+<tr>
+<td>Mata´ki</td>
+<td><p>The metate or grinding slab.</p></td>
+</tr>
+<tr>
+<td>Kakom´ta mata´ki</td>
+<td><p>The coarsest grinding slab.</p></td>
+</tr>
+<tr>
+<td>Tala´kî mata´ki</td>
+<td><p>The next finer slab; from “talaki” to parch crushed corn in a
+vessel at the fire.</p></td>
+</tr>
+<tr>
+<td>Piñ´nyümta mata´ki</td>
+<td><p>The slab of finest texture; from “pin,” fine.</p></td>
+</tr>
+<tr>
+<td>Ma´ta ü´tci</td>
+<td><p>The upright partition stones separating the metates. The rubbing
+stones have the same names as the metates.</p></td>
+</tr>
+<tr>
+<td>Hawi´wita</td>
+<td><p>A stone stairway.</p></td>
+</tr>
+<tr>
+<td>Tütü´beñ hawi´wita</td>
+<td><p>A stairway pecked into a cliff face.</p></td>
+</tr>
+<tr>
+<td>Sa´ka</td>
+<td><p>A ladder.</p></td>
+</tr>
+<tr>
+<td>Wina´hawi´pi</td>
+<td><p>Steps of wood.</p></td>
+</tr>
+<tr>
+<td>Ki´cka</td>
+<td><p>The covered way.</p></td>
+</tr>
+<tr>
+<td>Hitcu´yî´wa</td>
+<td><p>“Opening to pass through;” a narrow passage between
+houses.</p></td>
+</tr>
+<tr>
+<td>Ki´sombi</td>
+<td><p>“Place closed with houses;” courts and spaces between house
+groups.</p></td>
+</tr>
+<tr>
+<td>Bavwa´kwapi</td>
+<td><p>A gutter pipe inserted in the roof coping.</p></td>
+</tr>
+</table>
+
+<p>In kiva nomenclature the various parts of the roof have the same
+names as the corresponding features of the dwellings. These are
+described on pp. <a href="#page148">148</a>-<a href="#page151">151</a>.</p>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td>Le´stabi</td>
+<td><p>The main roof timbers.</p></td>
+</tr>
+<tr>
+<td>Wina´kwapi</td>
+<td><p>The smaller cross poles.</p></td>
+</tr>
+<tr>
+<td>Kaha´b kwapi</td>
+<td><p>The willow covering.</p></td>
+</tr>
+<tr>
+<td>Süibi kwapi</td>
+<td><p>The brush covering.</p></td>
+</tr>
+<tr>
+<td>Si´hü kwapi</td>
+<td><p>The grass covering.</p></td>
+</tr>
+<tr>
+<td>Tcuka´tcve&nbsp;wata</td>
+<td><p>The dry earth layer of the roof.</p></td>
+</tr>
+<tr>
+<td>Kiam´ba´lawi</td>
+<td><p>The layer of mud plaster on the roof.</p></td>
+</tr>
+<tr>
+<td>Kiami</td>
+<td><p>An entire roof.</p></td>
+</tr>
+</table>
+
+<p>
+<a name="page222" id="page222"> </a>
+The following terms are used to specially designate various features of
+the kivas:</p>
+
+<table class="inline text" summary="list of names">
+<tr>
+<td>Tüpat´caiata,&nbsp;lestabi<br/>
+Lesta´bkwapi,</td>
+<td><p>Both of these terms are used to designate the kiva hatchway beams
+upon which the hatchway walls rest.</p></td>
+</tr>
+<tr>
+<td>Süna´cabi le´stabi</td>
+<td><p>The main beams in the roof, nearest to the hatchway.</p></td>
+</tr>
+<tr>
+<td>Ĕp´eoka le´stabi</td>
+<td><p>The main beams next to the central ones.</p></td>
+</tr>
+<tr>
+<td>Püep´eoka le´stabi</td>
+<td><p>The main beams next in order, and all the beams intervening
+between the “epeoka” and the end beams are so designated.</p></td>
+</tr>
+<tr>
+<td>Kala´beoka lestabi</td>
+<td><p>The beams at the ends of a kiva.</p></td>
+</tr>
+<tr>
+<td>Mata´owa</td>
+<td><p>“Stone placed with hands.”</p></td>
+</tr>
+<tr>
+<td>Hüzrüowa</td>
+<td><p>“Hard stone.”</p>
+<p>Both of these latter terms are applied to corner foundation
+stones.</p></td>
+</tr>
+<tr>
+<td>Kwa´kü üt´cpi</td>
+<td><p>Moveable mat of reeds or sticks for covering hatchway opening, <a
+href="#fig29">Fig.&nbsp;29</a>. “Kwaku,” wild hay; “utepi,” a
+stopper.</p></td>
+</tr>
+<tr>
+<td>Tüpat´caiata</td>
+<td><p>The raised hatchway; “the sitting place,” <a href="#fig95">Fig.&nbsp;95</a>.</p></td>
+</tr>
+<tr>
+<td>Tüpat´caiata tü´kwa</td>
+<td><p>The walls of the hatchway.</p></td>
+</tr>
+<tr>
+<td>Kipat´ctjua´ta</td>
+<td><p>The kiva doorway; the opening into the hatchway, <a href="#fig28">Fig.&nbsp;28</a>.</p></td>
+</tr>
+<tr>
+<td>Apa´pho´ya</td>
+<td><p>Small niches in the wall. “Apap,” from “apabi,” inside, and
+“hoya,” small.</p></td>
+</tr>
+<tr>
+<td>Si´papüh</td>
+<td><p>An archaic term. The etymology of this word is not
+known.</p></td>
+</tr>
+<tr>
+<td>Kwŏp´kota</td>
+<td><p>The fireplace. “Kwuhi,” coals or embers; “küaiti,” head.</p></td>
+</tr>
+<tr>
+<td>Kŏi´tci</td>
+<td><p>Pegs for drying fuel, fixed under the hatchway. “Ko-hu,” wood; <a
+href="#fig28">Fig.&nbsp;28</a>.</p></td>
+</tr>
+<tr>
+<td>Kokü´ina</td>
+<td><p>Pegs in the walls.</p></td>
+</tr>
+<tr>
+<td>Sa´ka</td>
+<td><p>A ladder. This term is applied to any ladder. <a href="#fig45">Figs. 45</a>-<a href="#fig47">47</a>.</p></td>
+</tr>
+<tr>
+<td>Sa´kaleta</td>
+<td><p>Ladder rungs; “Leta,” from “lestabi;” see above.</p></td>
+</tr>
+<tr>
+<td>Tüvwibi</td>
+<td><p>The platform elevation or upper level of the floor. “Tu-vwi,” a
+ledge; <a href="#fig24">Fig.&nbsp;24</a>.</p></td>
+</tr>
+<tr>
+<td>Tüvwi</td>
+<td><p>Stone ledges around the sides, for seats. The same term is used
+to designate any ledge, as that of a mesa, etc.</p></td>
+</tr>
+<tr>
+<td>Katcin´ Kibü</td>
+<td><p>“Katcina,” house. The niche in a ledge at the end of the
+kiva.</p></td>
+</tr>
+<tr>
+<td>Kwi´sa</td>
+<td><p>The planks set into the floor, to which the lower beam of a
+blanket loom is fastened.</p></td>
+</tr>
+<tr>
+<td>Kaintup´ha</td>
+<td class="middle" rowspan="2"><p>Terms applied to the main floor;
+they both mean “the large space.”</p></td>
+</tr>
+<tr>
+<td>Kiva´kani</td>
+<!--<td></td>-->
+</tr>
+<tr>
+<td>Tapü´wü´tci</td>
+<td><p>Hewn planks a foot wide and 6 to 8 feet long, set into the
+floor.</p></td>
+</tr>
+<tr>
+<td>Wina´wü´tci</td>
+<td><p>A plank.</p></td>
+</tr>
+<tr>
+<td>Owa´pühü´imiata</td>
+<td><p>“Stone spread out;” the flagged floor; also designates the slabs
+covering the hatchway.</p></td>
+</tr>
+<tr>
+<td>
+<a name="page223" id="page223"> </a>
+Yau´wiopi.</td>
+<td><p>Stones with holes pecked in the ends for holding the loom beam
+while the warp is being adjusted; also used as seats; see <a href="#page132">p.&nbsp;132</a>.</p></td>
+</tr>
+</table>
+
+<p class="illustration">
+<a name="fig114" id="fig114"> </a>
+<img src="images/fig114.png" width="290" height="269"
+alt="section of terraces"
+title="section of terraces" /></p>
+<p class="caption"><span class="smallcaps">Fig. 114.</span>
+Diagram showing ideal section of terraces, with Tusayan names.</p>
+
+<p>The accompanying diagram is an ideal section of a Tusayan four-story
+house, and gives the native names for the various rooms and
+terraces.</p>
+
+
+
+
+<h4 class="chapter"><a name="concl" id="concl">
+CONCLUDING REMARKS.</a></h4>
+
+
+<p>The modern villages of Tusayan and Cibola differ more widely in
+arrangement and in the relation they bear to the surrounding topography
+than did their predecessors even of historic times.</p>
+
+<p>Many of the older pueblos of both groups appear to have belonged to
+the valley types&mdash;villages of considerable size, located in open
+plains or on the slopes of low-lying foothills. A&nbsp;comparison of the
+plans in Chapters <span class="smallroman">II</span> and <span class="smallroman">III</span> will illustrate these differences. In Tusayan
+the necessity of defense has driven the builders to inaccessible sites,
+so that now all the occupied villages of the province are found on mesa
+summits. The inhabitants of the valley pueblos of Cibola, although
+compelled at one time to build their houses upon the almost inaccessible
+summit of <ins class="correction"
+title="text reads ‘Tâaiyalana’">Tâaaiyalana</ins> mesa,
+occupied this site only
+temporarily, and soon established a large valley pueblo, the size and
+large population of which afforded that defensive efficiency which the
+Tusayan obtained only by building on mesa promontories. This has
+resulted in some adherence on the part of the Tusayan to the village
+plans of their ancestors, while at Zuni the great house clusters,
+forming the largest pueblo occupied in modern times, show a wide
+departure from the primitive types. In both provinces the architecture
+is distinguished from that of other portions of the pueblo region by
+greater irregularity of
+<a name="page224" id="page224"> </a>
+plan and by less skillfully executed constructional details; each group,
+however, happens to contain a notable exception to this general
+carelessness.</p>
+
+<p>In Cibola the pueblo of Kin-tiel, built with a continuous defensive
+outer wall, occupies architecturally a somewhat anomalous position,
+notwithstanding its traditional connection with the group, and the Fire
+House occupies much the same relation in reference to Tusayan. The
+latter, however, does not break in upon the unity of the group, since
+the Tusayan, to a much greater extent than the Zuñi, are made up of
+remnants of various bands of builders. In Cibola, however, some of the
+Indians state that their ancestors, before reaching Zuñi, built a number
+of pueblos, whose ruins are distinguished from those illustrated in the
+present paper by the presence of circular kivas, this form of ceremonial
+room being, apparently, wholly absent from the Cibolan pueblos here
+discussed.</p>
+
+<p>The people of Cibola and of Tusayan belong to distinct linguistic
+stocks, but their arts are very closely related, the differences being
+no greater than would result from the slightly different conditions that
+have operated within the last few generations. Zuñi, perhaps, came more
+directly under early Spanish influence than Tusayan.</p>
+
+<p>Churches were established, as has been seen, in both provinces, but
+it is doubtful whether their presence produced any lasting impression on
+the people. In Tusayan the sway of the Spaniards was very brief. At some
+of the pueblos the churches seem to have been built outside of the
+village proper where ample space was available within the pueblo; but
+such an encroachment on the original inclosed courts seems never to have
+been attempted. Zuñi is an apparent exception; but all the house
+clusters east of the church have probably been built later than the
+church itself, the church court of the present village being a much
+larger area than would be reserved for the usual pueblo court. These
+early churches were, as a rule, built of adobe, even when occurring in
+stone pueblos. The only exception noticed is at Ketchipauan, where it
+was built of the characteristic Indian smoothly chinked masonry. The
+Spaniards usually intruded their own construction, even to the
+composition of the bricks, which are nearly always made of straw
+adobe.</p>
+
+<p>At Tusayan there is no evidence that a church or mission house ever
+formed part of the villages on the mesa summits. Their plans are
+complete in themselves, and probably represent closely the first pueblos
+built on these sites. These summits have been extensively occupied only
+in comparatively recent times, although one or more small clusters may
+have been built here at an early date as outlooks over the fields in the
+valleys below.</p>
+
+<p>It is to be noted that some of the ruins connected traditionally and
+historically with Tusayan and Cibola differ in no particular from stone
+pueblos widely scattered over the southwestern plateaus which have been
+from time to time invested with a halo of romantic antiquity, and
+<a name="page225" id="page225"> </a>
+regarded as remarkable achievements in civilization by a vanished but
+once powerful race. These deserted stone houses, occurring in the midst
+of desert solitudes, appealed strongly to the imaginations of early
+explorers, and their stimulated fancy connected the remains with
+“Aztecs” and other mysterious peoples. That this early implanted bias
+has caused the invention of many ingenious theories concerning the
+origin and disappearance of the builders of the ancient pueblos, is
+amply attested in the conclusions reached by many of the writers on this
+subject.</p>
+
+<p>In connection with the architectural examination of some of these
+remains many traditions have been obtained from the present tribes,
+clearly indicating that some of the village ruins, and even cliff
+dwellings, have been built and occupied by ancestors of the present
+Pueblo Indians, sometimes at a date well within the historic period.</p>
+
+<p>The migrations of the Tusayan clans, as described in the legends
+collected by Mr. Stephen, were slow and tedious. While they pursued
+their wanderings and awaited the favorable omens of the gods they halted
+many times and planted. They speak traditionally of stopping at certain
+places on their routes during a certain number of “plantings,” always
+building the characteristic stone pueblos and then again taking up the
+march.</p>
+
+<p>When these Indians are questioned as to whence they came, their
+replies are various and conflicting; but this is due to the fact that
+the members of one clan came, after a long series of wanderings, from
+the north, for instance, while those of other gentes may have come last
+from the east. The tribe to-day seems to be made up of a collection or a
+confederacy of many enfeebled remnants of independent phratries and
+groups once more numerous and powerful. Some clans traditionally
+referred to as having been important are now represented by few
+survivors, and bid fair soon to become extinct. So the members of each
+phratry have their own store of traditions, relating to the wanderings
+of their own ancestors, which differ from those of other clans, and
+refer to villages successively built and occupied by them. In the case
+of others of the pueblos, the occupation of cliff dwellings and cave
+lodges is known to have occurred within historic times.</p>
+
+<p>Both architectural and traditional evidence are in accord in
+establishing a continuity of descent from the ancient Pueblos to those
+of the present day. Many of the communities are now made up of the more
+or less scattered but interrelated remnants of gentes which in former
+times occupied villages, the remains of which are to-day looked upon as
+the early homes of “Aztec colonies,” etc.</p>
+
+<p>The adaptation, of this architecture to the peculiar environment
+indicates that it has long been practiced under the same conditions that
+now prevail. Nearly all of the ancient pueblos were built of the
+sandstone found in natural quarries at the bases of hundreds of cliffs
+throughout these table-lands. This stone readily breaks into small
+pieces of regular
+<a name="page226" id="page226"> </a>
+form, suitable for use in the simple masonry of the pueblos without
+receiving any artificial treatment. The walls themselves give an
+exaggerated idea of finish, owing to the care and neatness with which
+the component stones are placed. Some of the illustrations in the last
+chapter, from photographs, show clearly that the material of the walls
+was much ruder than the appearance of the finished masonry would
+suggest, and that this finish depended on the careful selection and
+arrangement of the fragments. This is even more noticeable in the Chaco
+ruins, in which the walls were wrought to a high degrees of surface
+finish. The core of the wall was laid up with the larger and more
+irregular stones, and was afterwards brought to a smooth face by
+carefully filling in and chinking the joints with smaller stones and
+fragments, sometimes not more than a quarter of an inch thick; this
+method is still roughly followed by both Tusayan and Cibolan
+builders.</p>
+
+<p>Although many details of construction and arrangement display
+remarkable adaptation to the physical character of the country, yet the
+influence of such environment would not alone suffice to produce this
+architectural type. In order to develop the results found, another
+element was necessary. This element was the necessity for defense. The
+pueblo population was probably subjected to the more or less continuous
+influence of this defensive motive throughout the period of their
+occupation of this territory. A&nbsp;strong independent race of people, who
+had to fear no invasion by stronger foes, would necessarily have been
+influenced more by the physical environment and would have progressed
+further in the art of building, but the motive for building rectangular
+rooms&mdash;the initial point of departure in the development of pueblo
+architecture&mdash;would not have been brought into action. The crowding
+of many habitations upon a small cliff ledge or other restricted site,
+resulting in the rectangular form of rooms, was most likely due to the
+conditions imposed by this necessity for defense.</p>
+
+<p>The general outlines of the development of this architecture wherein
+the ancient builders were stimulated to the best use of the exceptional
+materials about them, both by the difficult conditions of their
+semi-desert environment and by constant necessity for protection against
+their neighbors, can be traced in its various stages of growth from the
+primitive conical lodge to its culmination in the large communal village
+of many-storied terraced buildings which we find to have been in use at
+the time of the Spanish discovery, and which still survives in Zuñi,
+perhaps its most striking modern example. Yet the various steps have
+resulted from a simple and direct use of the material immediately at
+hand, while methods gradually improved as frequent experiments taught
+the builders more fully to utilize local facilities. In all cases the
+material was derived from the nearest available source, and often
+variations in the quality of the finished work are due to variations in
+the quality of the stone near by. The results accomplished attest the
+patient and persistent industry of the ancient builders, but the work
+does not display great skill in construction or in preparation of
+material.
+<a name="page227" id="page227"> </a>
+The same desert environment that furnished such an abundance of material
+for the ancient builders, also, from its difficult and inhospitable
+character and the constant variations in the water supply, compelled the
+frequent employment of this material. This was an important factor in
+bringing about the attained degree of advancement in the building art.
+At the present day constant local changes occur in the water sources of
+these arid table-lands, while the general character of the climate
+remains unaltered.</p>
+
+<p>The distinguishing characteristics of Pueblo architecture may be
+regarded as the product of a defensive motive and of an arid environment
+that furnished an abundance of suitable building material, and at the
+same time the climatic conditions that compelled its frequent
+employment.</p>
+
+<p>The decline of the defensive motive within the last few years has
+greatly affected the more recent architecture. Even after the long
+practice of the system has rendered it somewhat fixed, comparative
+security from attack has caused many of the Pueblo Indians to recognize
+the inconvenience of dwellings grouped in large clusters on sites
+difficult of access, while the sources of their subsistence are
+necessarily sparsely scattered over large areas. This is noticeable in
+the building of small, detached houses at a distance from the main
+villages, the greater convenience to crops, flocks and water outweighing
+the defensive motive. In Cibola particularly, a&nbsp;marked tendency in this
+direction has shown itself within a score of years; Ojo Caliente, the
+newest of the farming pueblos, is perhaps the most striking example
+within the two provinces. The greater security of the pueblos as the
+country comes more fully into the hands of Americans, has also resulted
+in the more careless construction in modern examples as compared with
+the ancient.</p>
+
+<p>There is no doubt that, as time shall go on, the system of building
+many-storied clusters of rectangular rooms will gradually be abandoned
+by these people. In the absence of the defensive motive a more
+convenient system, employing scattered small houses, located near
+springs and fields, will gradually take its place, thus returning to a
+mode of building that probably prevailed in the evolution of the pueblo
+prior to the clustering of many rooms into large defensive villages. <a
+href="#plateLXXXIII">Pl. <span class="smallroman">LXXXIII</span></a>
+illustrates a building of the type described located on the outskirts of
+Zuñi, across the river from the main pueblo.</p>
+
+<p>The cultural distinctions between the Pueblo Indians and neighboring
+tribes gradually become less clearly defined as investigation
+progresses. Mr. Cushing’s study of the Zuñi social, political, and
+religious systems has clearly established their essential identity in
+grade of culture with those of other tribes. In many of the arts, too,
+such as weaving, ceramics, etc., these people in no degree surpass many
+tribes who build ruder dwellings.</p>
+
+<p>
+<a name="page228" id="page228"> </a>
+In architecture, though, they have progressed far beyond their
+neighbors; many of the devices employed attest the essentially primitive
+character of the art, and demonstrate that the apparent distinction in
+grade of culture is mainly due to the exceptional condition of the
+environment.</p>
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<hr class="mid" />
+<h4><a name="notesa" id="notesa">Footnotes</a></h4>
+
+<div class="footnotes">
+
+<p><a name="note1a" id="note1a" href="#tag1a">1.</a>
+This chapter is compiled by Cosmos Mindeleff from material collected by
+A.&nbsp;M. Stephen.</p>
+
+<p><a name="note2a" id="note2a" href="#tag2a">2.</a>
+The term by which the Tusayan Indians proper designate themselves. This
+term does not include the inhabitants of the village of Tewa or Hano,
+who are called Hanomuh.</p>
+
+<p><a name="note3a" id="note3a" href="#tag3a">3.</a>
+The term yasuna, translated here as “year,” is of rather indefinite
+significance; it sometimes means thirteen moons and in other instances
+much longer periods.</p>
+
+<p><a name="note4a" id="note4a" href="#tag4a">4.</a>
+See Millstone for April, 1884, Indianapolis, Indiana.</p>
+
+<p><a name="note5a" id="note5a" href="#tag5a">5.</a>
+These two names are common to the kiva in which the Snake order meets
+and in which the indoor ceremonies pertaining to the Snake-dance are
+celebrated.</p>
+
+<p><a name="note6a" id="note6a" href="#tag6a">6.</a>
+Cont. to N.A. Ethn., vol. 4, Houses and House life, pp. 129-131.</p>
+
+<p><a name="note7a" id="note7a" href="#tag7a">7.</a>
+Fifth Ann. Rept. Arch. Inst. Am., p. 74.</p>
+
+<p><a name="note8a" id="note8a" href="#tag8a">8.</a>
+Contributions to N.A. Ethnology, vol. 4. House Life, etc., p. 182.</p>
+
+<p><a name="note9a" id="note9a" href="#tag9a">9.</a>
+Given by W. W. H. Davis in El Gringo, p. 119.</p>
+
+<p><a name="note10a" id="note10a" href="#tag10a">10.</a>
+Fifth Ann. Rept. Arch. Inst. Am., p. 92.</p>
+
+</div>
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<hr class="mid" />
+
+<h4><a name="indexa" id="indexa">INDEX</a></h4>
+
+<p class="mynote">
+The following partial Index is specific to this article.
+The Index for the entire Eighth Annual Report is included in the
+<a href="#index">Index</a>.</p>
+
+<table class="index" summary="index">
+<tr>
+<td class="letterhead" colspan="2">A</td>
+</tr>
+<tr>
+<td>Acoma, arrival of the Asanyumu at</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+direction of kivas of</td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td class="inset">
+kiva trap-doors at</td>
+<td class="number"><a href="#page207">207</a></td>
+</tr>
+<tr>
+<td>Adobe, use in Tusayan</td>
+<td class="number"><a href="#page054">54</a>, <a href="#page078">78</a></td>
+</tr>
+<tr>
+<td class="inset">
+use in Zuñi attributed to foreign influence</td>
+<td class="number"><a href="#page139">139</a></td>
+</tr>
+<tr>
+<td class="inset">
+necessity for protecting against rain</td>
+<td class="number"><a href="#page156">156</a></td>
+</tr>
+<tr>
+<td class="inset">
+used in Spanish churches</td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>
+Adobe balls used in garden walls</p></td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td><p>
+Adobe bricks, in Hawikut church</p></td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+use modern in Zuñi</td>
+<td class="number"><a href="#page138">138</a></td>
+</tr>
+<tr>
+<td><p>
+Adobe mortar, in Tâaaiyalana structures</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Cibola and Tusayan use of, compared</p></td>
+<td class="number"><a href="#page137">137</a></td>
+</tr>
+<tr>
+<td><p>
+Adobe walls on stone foundation at Moenkopi</p></td>
+<td class="number"><a href="#page078">78</a></td>
+</tr>
+<tr>
+<td>Áikoka. See Acoma</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>
+Aiyáhokwi, the descendants of the Asa at Zuñi</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td>Alleyway, Hawikuh</td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td><p>
+Altar, conformity of, to direction of kiva</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td>Andiron, Shumopavi</td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td>Annular doorway</td>
+<td class="number"><a href="#page192">192</a>, <a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>
+Apache, inroads upon Tusayan by the</p></td>
+<td class="number"><a href="#page025">25</a>, <a href="#page026">26</a>, <a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+exposure of southern Cibola to the</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td>Architectural nomenclature</td>
+<td class="number"><a href="#page220">220</a>, <a href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>
+Architecture, comparison of constructional details of Tusayan and
+Cibola</p></td>
+<td class="number"><a href="#page100">100</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td class="inset">
+adaption to defense</td>
+<td class="number"><a href="#page226">226</a>, <a href="#page227">227</a></td>
+</tr>
+<tr>
+<td class="inset">
+adaption to environment</td>
+<td class="number"><a href="#page225">225</a>, <a href="#page226">226</a>, <a href="#page227">227</a>, <a href="#page228">228</a></td>
+</tr>
+<tr>
+<td><p>
+Art, textile and fictile, degree of Pueblo advancement in</p></td>
+<td class="number"><a href="#page227">227</a></td>
+</tr>
+<tr>
+<td><p>
+Arts of Cibola and Tusayan closely related</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td>Asa, migrations of the</td>
+<td class="number"><a href="#page030">30</a>, <a href="#page031">31</a></td>
+</tr>
+<tr>
+<td class="inset">
+language of the</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td class="inset">
+houses of, Hano</td>
+<td class="number"><a href="#page061">61</a></td>
+</tr>
+<tr>
+<td>Asanyumu. See Asa.</td>
+<td></td>
+</tr>
+<tr>
+<td>Awatubi, survey of</td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Spanish mission established at</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td class="inset">
+when and by whom built</td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset">
+settlement of the Asa at</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+attacked by the Walpi</td>
+<td class="number"><a href="#page034">34</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of ruins of</td>
+<td class="number"><a href="#page049">49</a>, <a href="#page050">50</a></td>
+</tr>
+<tr>
+<td class="inset">
+possession of sheep by the</td>
+<td class="number"><a href="#page050">50</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+clay tubes used as roof drains at</p></td>
+<td class="number"><a href="#page155">155</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+fragments of passage wall at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>
+Aztecs, ruined structures attributed to the</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">B</td>
+</tr>
+<tr>
+<td>Badger people leave Walpi</td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td><p>
+Baho, use of, in kiva consecratory ceremonies</p></td>
+<td class="number"><a href="#page119">119</a>-<a href="#page120">120</a>, <a href="#page129">129</a>, <a href="#page130">130</a></td>
+</tr>
+<tr>
+<td>Balcony, notched and terraced</td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td>Banded masonry</td>
+<td class="number"><a href="#page145">145</a></td>
+</tr>
+<tr>
+<td><p>
+Bandelier, A.F., description of chimney</p></td>
+<td class="number"><a href="#page173">173</a></td>
+</tr>
+<tr>
+<td class="inset">
+explorations of</td>
+<td class="number"><a href="#page197">197</a></td>
+</tr>
+<tr>
+<td class="inset">
+on ancient stone inclosures</td>
+<td class="number"><a href="#page216">216</a></td>
+</tr>
+<tr>
+<td><p>
+Bat house, description of ruin of</p></td>
+<td class="number"><a href="#page052">52</a></td>
+</tr>
+<tr>
+<td><p>
+Bátni, the first pueblo of the Snake people of Tusayan</p></td>
+<td class="number"><a href="#page018">18</a></td>
+</tr>
+<tr>
+<td>Bedsteads not used by Pueblos</td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Beams, Tusayan kivas, taken from Spanish church at Shumopavi</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+for supporting upper walls</td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+modern finish of</td>
+<td class="number"><a href="#page149">149</a></td>
+</tr>
+<tr>
+<td class="inset">
+construction of steps upon</td>
+<td class="number"><a href="#page162">162</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+for supporting passageway wall</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td class="inset">
+Chaco pueblos, how squared</td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>
+Bear people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page020">20</a>, <a href="#page026">26</a></td>
+</tr>
+<tr>
+<td class="inset">
+removal to Walpi of the</td>
+<td class="number"><a href="#page021">21</a>, <a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+movements of</td>
+<td class="number"><a href="#page027">27</a>, <a href="#page030">30</a>, <a href="#page031">31</a>, <a href="#page038">38</a></td>
+</tr>
+<tr>
+<td><p>
+Bear-skin-rope people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page026">26</a>, <a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>
+Benches or ledges of masonry, Zuñi rooms</p></td>
+<td class="number"><a href="#page110">110</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tusayan kivas</td>
+<td class="number"><a href="#page121">121</a>, <a href="#page123">123</a>, <a href="#page125">125</a></td>
+</tr>
+<tr>
+<td class="inset">
+Mashongnavi mungkiva</td>
+<td class="number"><a href="#page127">127</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+around rooms of pueblo houses</p></td>
+<td class="number"><a href="#page213">213</a></td>
+</tr>
+<tr>
+<td><p>
+Bins for storage in Tusayan rooms</p></td>
+<td class="number"><a href="#page109">109</a>, <a href="#page209">209</a>, <a href="#page210">210</a></td>
+</tr>
+<tr>
+<td><p>
+Blankets formerly used to cover doorways</p></td>
+<td class="number"><a href="#page182">182</a>, <a href="#page188">188</a>, <a href="#page189">189</a>, <a href="#page194">194</a></td>
+</tr>
+<tr>
+<td><p>
+Blue Jay people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page026">26</a>, <a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>
+Bond stones used in pueblo walls</p></td>
+<td class="number"><a href="#page144">144</a>, <a href="#page198">198</a></td>
+</tr>
+<tr>
+<td>Boss, or andiron, Shumopavi</td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td><p>
+Boundary line, Hano and Sichumovi</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td><p>
+Boundary mark, Shumopavi and Oraibi</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td>Boxes for plumes</td>
+<td class="number"><a href="#page210">210</a></td>
+</tr>
+<tr>
+<td><p>
+Bricks of adobe modern in Zuñi</p></td>
+<td class="number"><a href="#page138">138</a></td>
+</tr>
+<tr>
+<td><p>
+Brush, use of, in roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td>Brush shelters</td>
+<td class="number"><a href="#page217">217</a>-<a href="#page219">219</a></td>
+</tr>
+<tr>
+<td><p>
+Burial custom of K’iakima natives</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td>Burial inclosures at K’iakima</td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td>Burial place of Zuñi</td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>
+Burrowing Owl people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page026">26</a></td>
+</tr>
+<tr>
+<td><p>
+Buttress, formerly of Halona, existing in Zuñi</p></td>
+<td class="number"><a href="#page088">88</a>, <a href="#page089">89</a></td>
+</tr>
+<tr>
+<td>Buttress projections, Zuñi</td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tusayan rooms</td>
+<td class="number"><a href="#page109">109</a>, <a href="#page110">110</a></td>
+</tr>
+<tr>
+<td class="inset">
+girders supported by</td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+chimney supported by</td>
+<td class="number"><a href="#page172">172</a>, <a href="#page173">173</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+support of passageway roofs by</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">C</td>
+</tr>
+<tr>
+<td>Cages for eagles at Zuñi</td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Canyon de Chelly, proposed study of ruins of</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Tusayan, tradition concerning villages of</p></td>
+<td class="number"><a href="#page019">19</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+early occupancy of, by the Bear people at Tusayan</p></td>
+<td class="number"><a href="#page020">20</a></td>
+</tr>
+<tr>
+<td class="inset">
+occupied by the Asa</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+use of whitewash in cliff houses of</p></td>
+<td class="number"><a href="#page074">74</a>, <a href="#page145">145</a></td>
+</tr>
+<tr>
+<td class="inset">
+circular kivas of</td>
+<td class="number"><a href="#page117">117</a>, <a href="#page133">133</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+finish of roofs of houses of</p></td>
+<td class="number"><a href="#page150">150</a>, <a href="#page151">151</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+doorway described and figured</p></td>
+<td class="number"><a href="#page190">190</a></td>
+</tr>
+<tr>
+<td class="inset">
+cliff dwellings of</td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>
+Casa Blanca, traces of whitewashing at</p></td>
+<td class="number"><a href="#page145">145</a></td>
+</tr>
+<tr>
+<td><p>
+Castañeda’s account of Cibolan milling</p></td>
+<td class="number"><a href="#page211">211</a>, <a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>
+Cattle introduced into Tusayan</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td><p>
+Cave lodges occupied in historic times</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>
+Cave used by inhabitants of Kwaituki</p></td>
+<td class="number"><a href="#page057">57</a></td>
+</tr>
+<tr>
+<td><p>
+Ceiling plan of Shupaulovi kiva</p></td>
+<td class="number"><a href="#page123">123</a>, <a href="#page125">125</a>, <a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>
+Ceilings, retention of original appearance of rooms through
+nonrenovation of</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td><p>
+Cellars not used in Tusayan and Cibola</p></td>
+<td class="number"><a href="#page143">143</a></td>
+</tr>
+<tr>
+<td>Ceremonial chamber. See Kiva.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Ceremonial paraphernalia of Tusayan taken by the Navajo</p></td>
+<td class="number"><a href="#page050">50</a></td>
+</tr>
+<tr>
+<td><p>
+Ceremonies connected with Tusayan house-building</p></td>
+<td class="number"><a href="#page100">100</a>-<a href="#page104">104</a>, <a href="#page168">168</a></td>
+</tr>
+<tr>
+<td><p>
+Ceremonies accompanying kiva construction</p></td>
+<td class="number"><a href="#page115">115</a>, <a href="#page118">118</a></td>
+</tr>
+<tr>
+<td><p>
+Ceremonies performed at placing of Zuñi ladders</p></td>
+<td class="number"><a href="#page160">160</a></td>
+</tr>
+<tr>
+<td>Chaco ruins, character of</td>
+<td class="number"><a href="#page014">14</a>, <a href="#page070">70</a></td>
+</tr>
+<tr>
+<td class="inset">
+compared with Kin-tiel</td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+finish of masonry of</td>
+<td class="number"><a href="#page140">140</a>, <a href="#page226">226</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+upper story partitions of, supported by beams</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+finish of woodwork of</td>
+<td class="number"><a href="#page149">149</a>, <a href="#page184">184</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+symmetry of arrangement of outer openings of</p></td>
+<td class="number"><a href="#page195">195</a></td>
+</tr>
+<tr>
+<td class="inset">
+loop-holes in walls of</td>
+<td class="number"><a href="#page198">198</a></td>
+</tr>
+<tr>
+<td><p>
+Chair of modern form in Zuñi</p></td>
+<td class="number"><a href="#page213">213</a></td>
+</tr>
+<tr>
+<td><p>
+Chairs, lack of in Pueblo houses</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td>Chalowe, description of</td>
+<td class="number"><a href="#page083">83</a></td>
+</tr>
+<tr>
+<td><p>
+Charred roof timbers of Tusayan kiva</p></td>
+<td class="number"><a href="#page120">120</a></td>
+</tr>
+<tr>
+<td>Chimney. See Fireplace.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Chimney-hoods, how constructed</p></td>
+<td class="number"><a href="#page169">169</a>-<a href="#page175">175</a></td>
+</tr>
+<tr>
+<td><p>
+Chimneys, traces of in K’iakima</p></td>
+<td class="number"><a href="#page085">85</a></td>
+</tr>
+<tr>
+<td class="inset">
+remains of, at Matsaki</td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tusayan</td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+Zuñi</td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td class="inset">
+described and figured</td>
+<td class="number"><a href="#page167">167</a>-<a href="#page180">180</a></td>
+</tr>
+<tr>
+<td><p>
+Chukubi pueblo, built by the Squash people</p></td>
+<td class="number"><a href="#page025">25</a></td>
+</tr>
+<tr>
+<td class="inset">
+description</td>
+<td class="number"><a href="#page058">58</a>, <a href="#page059">59</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+fragments of passage wall at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>
+Church, Shumopavi, established by Spanish monks</p></td>
+<td class="number"><a href="#page075">75</a>, <a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+Hawikuh</td>
+<td class="number"><a href="#page081">81</a>, <a href="#page138">138</a></td>
+</tr>
+<tr>
+<td class="inset">
+Ketchipauan, remains of</td>
+<td class="number"><a href="#page081">81</a>, <a href="#page082">82</a></td>
+</tr>
+<tr>
+<td class="inset">
+in court of Zuñi</td>
+<td class="number"><a href="#page098">98</a>, <a href="#page138">138</a>, <a href="#page148">148</a></td>
+</tr>
+<tr>
+<td class="inset">
+See Mission.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Churches established in Zuñi and Tusayan</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>
+Cibola, ruins and inhabited villages of</p></td>
+<td class="number"><a href="#page080">80</a>-<a href="#page099">99</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+architecture of compared with that of Tusayan</p></td>
+<td class="number"><a href="#page100">100</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td class="inset">
+See Zuñi.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Circular doorway of Kin-tiel described</p></td>
+<td class="number"><a href="#page192">192</a></td>
+</tr>
+<tr>
+<td>Circular kivas, antiquity of</td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td class="inset">
+traditional references to</td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+absent in Cibolan pueblos</td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td>Circular room at Oraibi Wash</td>
+<td class="number"><a href="#page054">54</a>-<a href="#page055">55</a></td>
+</tr>
+<tr>
+<td>Circular rooms at Kin-tiel</td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td><p>
+Circular wall of kiva near Sikyatki</p></td>
+<td class="number"><a href="#page117">117</a></td>
+</tr>
+<tr>
+<td>Clay surface of pueblo roofs</td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td><p>
+Clay tubes used as roof drains</p></td>
+<td class="number"><a href="#page155">155</a></td>
+</tr>
+<tr>
+<td>Cliff dwellings, Moen-kopi</td>
+<td class="number"><a href="#page054">54</a></td>
+</tr>
+<tr>
+<td class="inset">
+use of whitewash in</td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+absence of chimneys in</td>
+<td class="number"><a href="#page168">168</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+developed from temporary shelters</p></td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td class="inset">
+occupied in historic times</td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>
+Climatic conditions, effect of, upon pueblo architecture</p></td>
+<td class="number"><a href="#page140">140</a>, <a href="#page227">227</a></td>
+</tr>
+<tr>
+<td><p>
+Clustering of Tâaaiyalana ruins</p></td>
+<td class="number"><a href="#page089">89</a>-<a href="#page090">90</a></td>
+</tr>
+<tr>
+<td><p>
+Cochití claimed to be a former Tewa pueblo</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Communal village, development of pueblo architecture from conical lodge
+to</p></td>
+<td class="number"><a href="#page226">226</a></td>
+</tr>
+<tr>
+<td>Consecration of kivas</td>
+<td class="number"><a href="#page129">129</a></td>
+</tr>
+<tr>
+<td><p>
+Contours represented on plans, interval of</p></td>
+<td class="number"><a href="#page045">45</a></td>
+</tr>
+<tr>
+<td>Cooking, pueblo method of</td>
+<td class="number"><a href="#page164">164</a></td>
+</tr>
+<tr>
+<td><p>
+Cooking pits and ovens described</p></td>
+<td class="number"><a href="#page162">162</a>-<a href="#page166">166</a>, <a href="#page176">176</a>-<a href="#page177">177</a></td>
+</tr>
+<tr>
+<td><p>
+Cooking stones of Tusayan, flames of</p></td>
+<td class="number"><a href="#page104">104</a></td>
+</tr>
+<tr>
+<td>Copings of walls described</td>
+<td class="number"><a href="#page151">151</a>-<a href="#page152">152</a></td>
+</tr>
+<tr>
+<td>Coping of hatchways</td>
+<td class="number"><a href="#page203">203</a></td>
+</tr>
+<tr>
+<td>Coping. See Roof-coping.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Cords, used for suspending chimney</p></td>
+<td class="number"><a href="#page170">170</a></td>
+</tr>
+<tr>
+<td><p>
+Corner stones of Tusayan kivas</p></td>
+<td class="number"><a href="#page119">119</a></td>
+</tr>
+<tr>
+<td>Corrals, Payupki</td>
+<td class="number"><a href="#page059">59</a></td>
+</tr>
+<tr>
+<td class="inset">
+Sichumovi</td>
+<td class="number"><a href="#page062">62</a>-<a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+Hawikuh</td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+Ketchipauan</td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+modern, at K’iakima</td>
+<td class="number"><a href="#page085">85</a></td>
+</tr>
+<tr>
+<td class="inset">
+how constructed</td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td class="inset">
+described in detail</td>
+<td class="number"><a href="#page214">214</a>-<a href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>
+Cotton cultivated by the Tusayan</p></td>
+<td class="number"><a href="#page033">33</a></td>
+</tr>
+<tr>
+<td>Courts, Mishiptonga</td>
+<td class="number"><a href="#page052">52</a></td>
+</tr>
+<tr>
+<td class="inset">
+Kwaituki</td>
+<td class="number"><a href="#page056">56</a></td>
+</tr>
+<tr>
+<td class="inset">
+Chukubi</td>
+<td class="number"><a href="#page059">59</a></td>
+</tr>
+<tr>
+<td class="inset">
+Sichumovi</td>
+<td class="number"><a href="#page062">62</a></td>
+</tr>
+<tr>
+<td class="inset">
+Walpi</td>
+<td class="number"><a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+Mashongnavi</td>
+<td class="number"><a href="#page068">68</a></td>
+</tr>
+<tr>
+<td class="inset">
+Shupaulovi</td>
+<td class="number"><a href="#page071">71</a></td>
+</tr>
+<tr>
+<td class="inset">
+Shumopavi</td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+Hawikuh</td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+Ketchipauan</td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+Matsaki</td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tâaaiyalana</td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+Kin-tiel</td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+Pescado</td>
+<td class="number"><a href="#page095">95</a></td>
+</tr>
+<tr>
+<td class="inset">
+Zuñi</td>
+<td class="number"><a href="#page098">98</a></td>
+</tr>
+<tr>
+<td>Covered way, how developed</td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td><p>
+Covered passages and gateways described</p></td>
+<td class="number"><a href="#page180">180</a>-<a href="#page182">182</a></td>
+</tr>
+<tr>
+<td><p>
+Coyote people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page026">26</a></td>
+</tr>
+<tr>
+<td>Coyote kiva, direction of the</td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td><p>
+Crossbars used in fastening wooden doors</p></td>
+<td class="number"><a href="#page183">183</a></td>
+</tr>
+<tr>
+<td>Crosspieces of ladders</td>
+<td class="number"><a href="#page159">159</a></td>
+</tr>
+<tr>
+<td>Cruzate, visit to Awatubi of</td>
+<td class="number"><a href="#page049">49</a></td>
+</tr>
+<tr>
+<td><p>
+Culture of pueblo tribes, degree of</p></td>
+<td class="number"><a href="#page227">227</a></td>
+</tr>
+<tr>
+<td><p>
+Cushing, Frank H., identifies K’iakima as scene of death of
+Estevanico</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+excavations at Halona</td>
+<td class="number"><a href="#page088">88</a>, <a href="#page193">193</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+opinion concerning western wall of Halona</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+opinion concerning distribution of Tâaaiyalana ruins</p></td>
+<td class="number"><a href="#page089">89</a>-<a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on the former occupancy of Kin-tiel</p></td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Haloua identified as one of the Seven Cities of Cibola</p></td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on Zuñi tradition concerning stone-close</p></td>
+<td class="number"><a href="#page192">192</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">D</td>
+</tr>
+<tr>
+<td>Dais of kivas</td>
+<td class="number"><a href="#page121">121</a>, <a href="#page122">122</a>, <a href="#page123">123</a></td>
+</tr>
+<tr>
+<td><p>
+Dance ceremony in kiva consecration</p></td>
+<td class="number"><a href="#page130">130</a></td>
+</tr>
+<tr>
+<td><p>
+Dance rock, Tusayan, reference to snake dance of</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>
+Débris, how indicated in plans of ruins</p></td>
+<td class="number"><a href="#page045">45</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+an indication of original height of walls</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td>Decoration, house openings</td>
+<td class="number"><a href="#page145">145</a>-<a href="#page146">146</a></td>
+</tr>
+<tr>
+<td class="inset">
+Kiva roof timbers</td>
+<td class="number"><a href="#page119">119</a>, <a href="#page120">120</a></td>
+</tr>
+<tr>
+<td class="inset">
+ladder crosspieces</td>
+<td class="number"><a href="#page159">159</a></td>
+</tr>
+<tr>
+<td class="inset">
+roof beams</td>
+<td class="number"><a href="#page123">123</a>, <a href="#page124">124</a></td>
+</tr>
+<tr>
+<td class="inset">
+wall of Mashongnavi house</td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td class="inset">
+wooden chair</td>
+<td class="number"><a href="#page213">213</a></td>
+</tr>
+<tr>
+<td class="inset">
+Zuñi window sashes</td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td><p>
+Deer horns used as pegs in Zuñi</p></td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td><p>
+Defense, wall for, at Bat House</p></td>
+<td class="number"><a href="#page052">52</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+a motive for selection of dwelling site</p></td>
+<td class="number"><a href="#page056">56</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+architecture relied upon for</p></td>
+<td class="number"><a href="#page058">58</a></td>
+</tr>
+<tr>
+<td class="inset">
+method of, of Payupki</td>
+<td class="number"><a href="#page059">59</a>, <a href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+not a factor in selection of Mashongnavi site</p></td>
+<td class="number"><a href="#page067">67</a></td>
+</tr>
+<tr>
+<td class="inset">
+features of, at Ojo Calient</td>
+<td class="number"><a href="#page069">69</a></td>
+</tr>
+<tr>
+<td class="inset">
+wall for, at Pueblo Bonito</td>
+<td class="number"><a href="#page070">70</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+features of, at Tusayan and Zuñi compared</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+sites chosen for, inconvenient to sources of subsistence</p></td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+use of Kelchipauan church for, by natives</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+the motive of occupation of Tâaaiyalana mesa</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+provision for, at Kin-tie</td>
+<td class="number"><a href="#page092">92</a>, <a href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+provisions for, in Ketchipauan church</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+motive for, dying out in Zuñi</p></td>
+<td class="number"><a href="#page096">96</a>-<a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset">
+efficiency of, at Zuñi</td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+not a motive in selection of site of Zuñi</p></td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset">
+gateways arranged for</td>
+<td class="number"><a href="#page180">180</a>, <a href="#page182">182</a></td>
+</tr>
+<tr>
+<td class="inset">
+loopholes for</td>
+<td class="number"><a href="#page198">198</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+adaptation of architecture to</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>
+Doors to ground floor rooms of Zuñi</p></td>
+<td class="number"><a href="#page143">143</a></td>
+</tr>
+<tr>
+<td><p>
+Doors of various lands described</p></td>
+<td class="number"><a href="#page183">183</a>-<a href="#page194">194</a></td>
+</tr>
+<tr>
+<td><p>
+Doorway, Walpi kiva, closed with cottonwood slab</p></td>
+<td class="number"><a href="#page064">64</a></td>
+</tr>
+<tr>
+<td class="inset">
+Kin-tiel</td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset">
+position of, in Tusayan</td>
+<td class="number"><a href="#page103">103</a></td>
+</tr>
+<tr>
+<td class="inset">
+stepped form in Tusayan</td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+how sealed against intrusion</p></td>
+<td class="number"><a href="#page110">110</a></td>
+</tr>
+<tr>
+<td class="inset">
+window and chimney in one</td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td class="inset">
+annular</td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td>Doorways, closed with masonry</td>
+<td class="number"><a href="#page183">183</a>, <a href="#page187">187</a>, <a href="#page188">188</a>, <a href="#page189">189</a></td>
+</tr>
+<tr>
+<td class="inset">
+why made small</td>
+<td class="number"><a href="#page197">197</a></td>
+</tr>
+<tr>
+<td><p>
+Drainage of roof, relations of certain roof openings to</p></td>
+<td class="number"><a href="#page203">203</a>-<a href="#page204">204</a></td>
+</tr>
+<tr>
+<td>Drains of roofs described</td>
+<td class="number"><a href="#page153">153</a>-<a href="#page156">156</a></td>
+</tr>
+<tr>
+<td>Drains. See roof drains.</td>
+<td></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">E</td>
+</tr>
+<tr>
+<td>Eagle cages of Zuñi</td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Eagle people, migration legend of the</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>
+Earth used in pueblo roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>
+Eaves, lack of, in Tusayan houses</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td>Echo Cave fireplace described</td>
+<td class="number"><a href="#page168">168</a></td>
+</tr>
+<tr>
+<td><p>
+Entrances, uniformity of direction of, in Zuñi kivas</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td><p>
+Environment, adaptation, of architecture to</p></td>
+<td class="number"><a href="#page225">225</a>, <a href="#page226">226</a>, <a href="#page227">227</a>, <a href="#page228">228</a></td>
+</tr>
+<tr>
+<td><p>
+Estevanico’s death, at K’iakima</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td>Estufa. See Kiva.</td>
+<td></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">F</td>
+</tr>
+<tr>
+<td>Families occupying Oraibi</td>
+<td class="number"><a href="#page105">105</a>-<a href="#page108">108</a></td>
+</tr>
+<tr>
+<td><p>
+Farming outlook, Matsaki used as</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+near Kin-tiel</td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td>Farming pueblos, Cibola</td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+Moen-kopi</td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td class="inset">
+Nutria</td>
+<td class="number"><a href="#page094">94</a>, <a href="#page095">95</a></td>
+</tr>
+<tr>
+<td class="inset">
+Pescado</td>
+<td class="number"><a href="#page095">95</a>-<a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+Ojo Caliente</td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+Zuñi</td>
+<td class="number"><a href="#page198">198</a></td>
+</tr>
+<tr>
+<td>Fastenings of doors</td>
+<td class="number"><a href="#page186">186</a></td>
+</tr>
+<tr>
+<td><p>
+Feathers, use of, in house-building ceremonies</p></td>
+<td class="number"><a href="#page101">101</a>, <a href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>
+Feather wand or baho used in kiva-building ceremonials</p></td>
+<td class="number"><a href="#page119">119</a>, <a href="#page120">120</a>, <a href="#page129">129</a>, <a href="#page130">130</a></td>
+</tr>
+<tr>
+<td>Fences of corrals and gardens</td>
+<td class="number"><a href="#page215">215</a>, <a href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>
+Fetiches, where placed during kiva ceremonial</p></td>
+<td class="number"><a href="#page122">122</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tusayan kivas</td>
+<td class="number"><a href="#page130">130</a>, <a href="#page131">131</a></td>
+</tr>
+<tr>
+<td><p>
+Fire gens, Tebugkihu constructed by the</p></td>
+<td class="number"><a href="#page057">57</a></td>
+</tr>
+<tr>
+<td><p>
+Fire-house or Tebugkihu, Tusayan</p></td>
+<td class="number"><a href="#page020">20</a>, <a href="#page057">57</a>, <a href="#page100">100</a>, <a href="#page142">142</a>, <a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>
+Fire people of Tusayan, migration of the</p></td>
+<td class="number"><a href="#page020">20</a></td>
+</tr>
+<tr>
+<td>Fireplaces</td>
+<td class="number"><a href="#page102">102</a>, <a href="#page109">109</a>, <a href="#page121">121</a>, <a href="#page125">125</a>, <a href="#page163">163</a>, <a href="#page167">167</a>-<a href="#page180">180</a></td>
+</tr>
+<tr>
+<td>Floor, Mashongnavi house</td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td class="inset">
+stone flags, Tusayan kiva</td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+sandstone slabs, Shupaulovi kiva</p></td>
+<td class="number"><a href="#page123">123</a></td>
+</tr>
+<tr>
+<td><p>
+Floors in pueblo buildings, various kinds described</p></td>
+<td class="number"><a href="#page121">121</a>, <a href="#page135">135</a>, <a href="#page148">148</a>-<a href="#page151">151</a></td>
+</tr>
+<tr>
+<td><p>
+Folk-tale of the Zuñi, describing stone-close</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>
+Food sacrifices in Tusayan house building</p></td>
+<td class="number"><a href="#page101">101</a>, <a href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>
+Fortress houses the highest type of Pueblo construction</p></td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td><p>
+Frames of trap-doors, method of making</p></td>
+<td class="number"><a href="#page206">206</a></td>
+</tr>
+<tr>
+<td>Framing of windows, method of</td>
+<td class="number"><a href="#page196">196</a>-<a href="#page198">198</a></td>
+</tr>
+<tr>
+<td>Fuel, how stored in Tusayan</td>
+<td class="number"><a href="#page103">103</a></td>
+</tr>
+<tr>
+<td>Fuel used in kivas</td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td>Fuel of kivas, where stored</td>
+<td class="number"><a href="#page124">124</a></td>
+</tr>
+<tr>
+<td><p>
+Furniture of the Pueblos described</p></td>
+<td class="number"><a href="#page208">208</a>-<a href="#page214">214</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">G</td>
+</tr>
+<tr>
+<td><p>
+Gardens and corrals of the Pueblos</p></td>
+<td class="number"><a href="#page214">214</a>-<a href="#page217">217</a></td>
+</tr>
+<tr>
+<td>Gardens and garden walls</td>
+<td class="number"><a href="#page215">215</a>-<a href="#page217">217</a></td>
+</tr>
+<tr>
+<td>Garden walls, how constructed</td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td>Gateway at Awatubi</td>
+<td class="number"><a href="#page049">49</a></td>
+</tr>
+<tr>
+<td><p>
+Gateway jambs at Kin-tiel, finish of</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>
+Gateways, probable existence in Kin-tiel of</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td><p>
+Gateways and covered passages described</p></td>
+<td class="number"><a href="#page180">180</a>-<a href="#page182">182</a></td>
+</tr>
+<tr>
+<td>Gateways of corrals</td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td>Genesis myth of the Tusayan</td>
+<td class="number"><a href="#page016">16</a></td>
+</tr>
+<tr>
+<td><p>
+Gentes of Tusayan, grouping of houses by</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+land apportionment by</td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset">
+list of traditionary</td>
+<td class="number"><a href="#page038">38</a></td>
+</tr>
+<tr>
+<td class="inset">
+localization of</td>
+<td class="number"><a href="#page104">104</a>-<a href="#page108">108</a></td>
+</tr>
+<tr>
+<td><p>
+Girders supporting upper walls</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Tusayan houses supported by piers</p></td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td><p>
+Glass used in modern Pueblo windows</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td>Glazing of Pueblo windows</td>
+<td class="number"><a href="#page196">196</a>, <a href="#page197">197</a></td>
+</tr>
+<tr>
+<td>Goat kiva of Walpi, height of</td>
+<td class="number"><a href="#page119">119</a></td>
+</tr>
+<tr>
+<td>Gourd used as roof drain</td>
+<td class="number"><a href="#page154">154</a>, <a href="#page155">155</a></td>
+</tr>
+<tr>
+<td><p>
+Grass, use of, in roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>
+Graves, probable existence of, in Kin-tiel</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td>Gravestones at K’iakima</td>
+<td class="number"><a href="#page085">85</a>, <a href="#page086">86</a>, <a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>
+Greasewood, the ordinary kiva fuel</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>
+Grinding stones. See Metate; Milling.</p></td>
+<td></td>
+</tr>
+<tr>
+<td>Ground plan, Mashongnavi room</td>
+<td class="number"><a href="#page108">108</a></td>
+</tr>
+<tr>
+<td class="inset">
+Shupaulovi kiva</td>
+<td class="number"><a href="#page125">125</a></td>
+</tr>
+<tr>
+<td><p>
+Ground plans of Zuñi and Tusayan compared</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+of mesa villages influenced by prevailing winds</p></td>
+<td class="number"><a href="#page182">182</a></td>
+</tr>
+<tr>
+<td>Guyave or piki oven</td>
+<td class="number"><a href="#page173">173</a>, <a href="#page175">175</a></td>
+</tr>
+<tr>
+<td><p>
+Gyarzobi or Paroquet kiva, roof timbers of</p></td>
+<td class="number"><a href="#page120">120</a></td>
+</tr>
+<tr>
+<td>Gypsum used as whitewash</td>
+<td class="number"><a href="#page073">73</a>, <a href="#page074">74</a>, <a href="#page172">172</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">H</td>
+</tr>
+<tr>
+<td><p>
+Hairdressing among the Tusayan</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Halona, description of</td>
+<td class="number"><a href="#page088">88</a>, <a href="#page089">89</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+remains of the nucleus of Zuñi</p></td>
+<td class="number"><a href="#page097">97</a>, <a href="#page098">98</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+walls of the nucleus of modern Zuñi</p></td>
+<td class="number"><a href="#page138">138</a></td>
+</tr>
+<tr>
+<td class="inset">
+stone-close at, described</td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>
+“Halving” of timbers in kiva trap-frames</p></td>
+<td class="number"><a href="#page206">206</a></td>
+</tr>
+<tr>
+<td>Hampassawan, description of</td>
+<td class="number"><a href="#page083">83</a>-<a href="#page085">85</a></td>
+</tr>
+<tr>
+<td><p>
+Hand-holds cut in faces of cliffs</p></td>
+<td class="number"><a href="#page191">191</a></td>
+</tr>
+<tr>
+<td><p>
+Hand-holds in frames of trap-doors</p></td>
+<td class="number"><a href="#page192">192</a></td>
+</tr>
+<tr>
+<td><p>
+Hano, Asa group occupy site of</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page061">61</a>, <a href="#page062">62</a></td>
+</tr>
+<tr>
+<td class="inset">
+direction of kivas of</td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset">
+kiva, ownership of</td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+kivas, list of</td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+rude transom over roof beam in</p></td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td class="inset">
+sealed openings in</td>
+<td class="number"><a href="#page199">199</a></td>
+</tr>
+<tr>
+<td><p>
+Hano people, length of time spent in Tusayan by the</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset">
+received by the Tusayan</td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+trouble between the Walpi and</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Hanomuh, the inhabitants of Hano</p></td>
+<td class="number"><a href="#page017">17</a></td>
+</tr>
+<tr>
+<td class="inset">
+definition of</td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td><p>
+Hano traditions regarding settlement in Tusayan</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>
+Harvest time, how determined in Zuñi</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td>Hatchways to pueblo houses</td>
+<td class="number"><a href="#page110">110</a>, <a href="#page120">120</a>, <a href="#page121">121</a>, <a href="#page124">124</a>, <a href="#page127">127</a></td>
+</tr>
+<tr>
+<td>Hawikuh, description of</td>
+<td class="number"><a href="#page080">80</a>, <a href="#page081">81</a></td>
+</tr>
+<tr>
+<td><p>
+Hawikuh church, durability of masonry of</p></td>
+<td class="number"><a href="#page138">138</a></td>
+</tr>
+<tr>
+<td><p>
+Hemenway Southwestern Archeological Expedition, excavations at
+Halona</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>
+High-house people, a Navajo clan</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>
+Hinged sashes not in use in Zuñi</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td>Hinges of Pueblo doors</td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>
+Hodge, F. Webb, on stone-close of Halona</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>
+Holmes, William H., on ruins of the San Juan</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>
+Homólobi, the early home of the Sun and Water peoples</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+legend of Water people concerning</p></td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td><p>
+Hopituh, the native name of the Tusayan</p></td>
+<td class="number"><a href="#page017">17</a></td>
+</tr>
+<tr>
+<td><p>
+Hopituh marriage within phratries and gentes</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td><p>
+Horn House, description of ruin of</p></td>
+<td class="number"><a href="#page050">50</a>, <a href="#page051">51</a></td>
+</tr>
+<tr>
+<td>Horn people migration legend</td>
+<td class="number"><a href="#page018">18</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+early settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page019">19</a></td>
+</tr>
+<tr>
+<td><p>
+House-building rites of Tusayan</p></td>
+<td class="number"><a href="#page100">100</a>-<a href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>
+House clusters in Zuñi, arrangement of</p></td>
+<td class="number"><a href="#page098">98</a></td>
+</tr>
+<tr>
+<td><p>
+Hungo Pavie, finish of roofs in</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">I</td>
+</tr>
+<tr>
+<td><p>
+Interior arrangement of pueblos</p></td>
+<td class="number"><a href="#page108">108</a>-<a href="#page111">111</a></td>
+</tr>
+<tr>
+<td><p>
+Interior of Zuñi house described</p></td>
+<td class="number"><a href="#page110">110</a></td>
+</tr>
+<tr>
+<td><p>
+Irrigation of gardens near Walpi</p></td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">J</td>
+</tr>
+<tr>
+<td><p>
+Jackson, W. H., on ruins of the San Juan</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+photographs of pueblo ruins by</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+describes fireplace of Echo Cave</p></td>
+<td class="number"><a href="#page168">168</a></td>
+</tr>
+<tr>
+<td><p>
+Jar of large size used for storage</p></td>
+<td class="number"><a href="#page210">210</a></td>
+</tr>
+<tr>
+<td><p>
+Jars used in chimney construction</p></td>
+<td class="number"><a href="#page180">180</a></td>
+</tr>
+<tr>
+<td>Jeditoh group of ruins</td>
+<td class="number"><a href="#page052">52</a>, <a href="#page053">53</a></td>
+</tr>
+<tr>
+<td>Jemez oven-opening described</td>
+<td class="number"><a href="#page165">165</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">K</td>
+</tr>
+<tr>
+<td>Kaékibi, an ancient pueblo</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td>Kaiwáika. See Laguna</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td>Kápung. See Santa Clara</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Katchina kiva of Oraibi</td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td><p>
+Katchina people depart from Oraibi for eastern Tusayan villages</p></td>
+<td class="number"><a href="#page026">26</a>, <a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>
+Katchinkihu, occurrence of, in ruined kiva near Sikyatki</p></td>
+<td class="number"><a href="#page117">117</a></td>
+</tr>
+<tr>
+<td class="inset">
+described</td>
+<td class="number"><a href="#page121">121</a>, <a href="#page123">123</a></td>
+</tr>
+<tr>
+<td class="inset">
+Shupaulovi kiva</td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td class="inset">
+Mashonguavi mungkiva</td>
+<td class="number"><a href="#page127">127</a></td>
+</tr>
+<tr>
+<td>Kótite. See Cochití.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Ketchipauan church built of stone</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td>Ketchipauan, description of</td>
+<td class="number"><a href="#page081">81</a>-<a href="#page083">83</a></td>
+</tr>
+<tr>
+<td>Kiáini. See High-house people</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td>K’iakima, description of</td>
+<td class="number"><a href="#page085">85</a>, <a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+upright stone slabs at</td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>
+Kikoli rooms occupied in winter</p></td>
+<td class="number"><a href="#page103">103</a>, <a href="#page104">104</a>, <a href="#page131">131</a></td>
+</tr>
+<tr>
+<td>Kin-tiel, description of</td>
+<td class="number"><a href="#page091">91</a>-<a href="#page094">94</a></td>
+</tr>
+<tr>
+<td class="inset">
+compared with Nutria</td>
+<td class="number"><a href="#page094">94</a></td>
+</tr>
+<tr>
+<td class="inset">
+compared with Pescado</td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+plan of, prearranged</td>
+<td class="number"><a href="#page100">100</a></td>
+</tr>
+<tr>
+<td class="inset">
+compared with Oraibi</td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+occurrence of upright stone slab at</p></td>
+<td class="number"><a href="#page147">147</a>-<a href="#page148">148</a></td>
+</tr>
+<tr>
+<td class="inset">
+beams of ruins of</td>
+<td class="number"><a href="#page149">149</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+upper room of, paved with stone</p></td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td class="inset">
+fireplace in room of</td>
+<td class="number"><a href="#page163">163</a>, <a href="#page168">168</a></td>
+</tr>
+<tr>
+<td class="inset">
+defensive gateway at</td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>
+Kin-tiel, finish of gateway jambs at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+circular doorway at, described</p></td>
+<td class="number"><a href="#page192">192</a>, <a href="#page193">193</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+openings at, of uniform height</p></td>
+<td class="number"><a href="#page194">194</a></td>
+</tr>
+<tr>
+<td class="inset">
+site of</td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>
+Kisákobi, description of pueblo of</p></td>
+<td class="number"><a href="#page021">21</a></td>
+</tr>
+<tr>
+<td>Kishoni, or uncovered shade</td>
+<td class="number"><a href="#page217">217</a>-<a href="#page218">218</a></td>
+</tr>
+<tr>
+<td>“Kisi” construction</td>
+<td class="number"><a href="#page217">217</a>-<a href="#page219">219</a></td>
+</tr>
+<tr>
+<td><p>
+Kitdauwi&mdash;the house song of Tusayan</p></td>
+<td class="number"><a href="#page118">118</a>-<a href="#page119">119</a></td>
+</tr>
+<tr>
+<td><p>
+Kiva, study of construction of</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+remains of, at Payupki</td>
+<td class="number"><a href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+Mashongnavi</td>
+<td class="number"><a href="#page066">66</a></td>
+</tr>
+<tr>
+<td class="inset">
+of Moen-kopi</td>
+<td class="number"><a href="#page078">78</a></td>
+</tr>
+<tr>
+<td class="inset">
+origin of the name</td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td class="inset">
+ancient form of</td>
+<td class="number"><a href="#page116">116</a>, <a href="#page117">117</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+native explanation of position of</p></td>
+<td class="number"><a href="#page118">118</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+duties of mungwi, or chief of the</p></td>
+<td class="number"><a href="#page133">133</a></td>
+</tr>
+<tr>
+<td class="inset">
+ownership of</td>
+<td class="number"><a href="#page133">133</a>-<a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+motive for building</td>
+<td class="number"><a href="#page134">134</a>-<a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+significance of structural plan of</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+measurements of</td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+hatchways of</td>
+<td class="number"><a href="#page201">201</a>-<a href="#page202">202</a>, <a href="#page205">205</a>-<a href="#page207">207</a></td>
+</tr>
+<tr>
+<td class="inset">
+openings of, at Acoma</td>
+<td class="number"><a href="#page207">207</a></td>
+</tr>
+<tr>
+<td class="inset">
+See Mungkiva.</td>
+<td></td>
+</tr>
+<tr>
+<td>Kivas, excavated, at Awatubi</td>
+<td class="number"><a href="#page050">50</a></td>
+</tr>
+<tr>
+<td class="inset">
+Hano</td>
+<td class="number"><a href="#page061">61</a></td>
+</tr>
+<tr>
+<td class="inset">
+Sichumovi</td>
+<td class="number"><a href="#page062">62</a></td>
+</tr>
+<tr>
+<td class="inset">
+Walpi</td>
+<td class="number"><a href="#page063">63</a>, <a href="#page064">64</a>, <a href="#page065">65</a></td>
+</tr>
+<tr>
+<td class="inset">
+Shupaulovi</td>
+<td class="number"><a href="#page072">72</a></td>
+</tr>
+<tr>
+<td class="inset">
+Shumopavi</td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Kin-tiel and Cibola compared</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Zuñi, where located during Spanish occupancy</p></td>
+<td class="number"><a href="#page099">99</a></td>
+</tr>
+<tr>
+<td class="inset">
+in Tusayan</td>
+<td class="number"><a href="#page111">111</a>-<a href="#page137">137</a></td>
+</tr>
+<tr>
+<td class="inset">
+typical plans of</td>
+<td class="number"><a href="#page118">118</a>-<a href="#page129">129</a></td>
+</tr>
+<tr>
+<td class="inset">
+dimensions of</td>
+<td class="number"><a href="#page118">118</a>, <a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+of, measurements of</td>
+<td class="number"><a href="#page118">118</a>, <a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+annually repaired by women</td>
+<td class="number"><a href="#page129">129</a></td>
+</tr>
+<tr>
+<td class="inset">
+uses of</td>
+<td class="number"><a href="#page130">130</a></td>
+</tr>
+<tr>
+<td class="inset">
+nomenclature of</td>
+<td class="number"><a href="#page130">130</a>, <a href="#page223">223</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tusayan, list of</td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+nonuse of chimneys in</td>
+<td class="number"><a href="#page178">178</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Zuñi, stone window-frames of</p></td>
+<td class="number"><a href="#page197">197</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+circular, absent in Cibolan pueblos</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>
+Kwaituki, description of ruin of</p></td>
+<td class="number"><a href="#page056">56</a>-<a href="#page057">57</a></td>
+</tr>
+<tr>
+<td><p>
+Kwálakwai, Hano tradition related by</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>
+Kwetcap tutwi, the second pueblo of the snake people of Tusayan</p></td>
+<td class="number"><a href="#page018">18</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">L</td>
+</tr>
+<tr>
+<td><p>
+Ladders, arrangement in Tusayan kiva</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+withdrawal of rungs to prevent use of</p></td>
+<td class="number"><a href="#page113">113</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+significance of position of, in kivas</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+described</td>
+<td class="number"><a href="#page156">156</a>-<a href="#page162">162</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+second-story terrace of Tusayan reached principally by</p></td>
+<td class="number"><a href="#page182">182</a></td>
+</tr>
+<tr>
+<td class="inset">
+openings for, in roofs</td>
+<td class="number"><a href="#page205">205</a></td>
+</tr>
+<tr>
+<td><p>
+Laguna, arrival of the Asanyumu at</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>
+Lalénkobáki, a female society of Tusayan</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td><p>
+Land apportionment by gentes in Tusayan</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td><p>
+Language of the Asa and Hano of Tusayan</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Languages of Tusayan, tradition regarding difference in</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td><p>
+Las Animas ruins, trap-door frames in</p></td>
+<td class="number"><a href="#page206">206</a></td>
+</tr>
+<tr>
+<td>Latches of doors</td>
+<td class="number"><a href="#page186">186</a>-<a href="#page187">187</a></td>
+</tr>
+<tr>
+<td><p>
+Latch strings used on Zuñi doors</p></td>
+<td class="number"><a href="#page183">183</a></td>
+</tr>
+<tr>
+<td><p>
+Lathing or wattling of kiva walls</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td>Ledges of masonry in kivas</td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>
+Ledges or benches around rooms</p></td>
+<td class="number"><a href="#page213">213</a></td>
+</tr>
+<tr>
+<td>Lenbaki, society of Tusayan</td>
+<td class="number"><a href="#page018">18</a></td>
+</tr>
+<tr>
+<td><p>
+Light, method of introducing, in inner rooms</p></td>
+<td class="number"><a href="#page207">207</a></td>
+</tr>
+<tr>
+<td><p>
+Lighting, method of, in crowded portions of Zuñi</p></td>
+<td class="number"><a href="#page099">99</a></td>
+</tr>
+<tr>
+<td><p>
+Lintels of old windows embedded in masonry</p></td>
+<td class="number"><a href="#page200">200</a></td>
+</tr>
+<tr>
+<td>Lizard people move from Walpi</td>
+<td class="number"><a href="#page031">31</a>, <a href="#page038">38</a></td>
+</tr>
+<tr>
+<td><p>
+Lock and key of wood, how made</p></td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td>Loom appurtenances</td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td>Loom posts of kivas</td>
+<td class="number"><a href="#page128">128</a>-<a href="#page129">129</a>, <a href="#page132">132</a></td>
+</tr>
+<tr>
+<td><p>
+Loophole-like openings in pueblo buildings</p></td>
+<td class="number"><a href="#page127">127</a>, <a href="#page198">198</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">M</td>
+</tr>
+<tr>
+<td><p>
+Mamzrántiki, an Oraibi society of women</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td><p>
+Mandan ladder described and figured</p></td>
+<td class="number"><a href="#page158">158</a></td>
+</tr>
+<tr>
+<td><p>
+Maricopa, myth of the Water people of Tusayan concerning the</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td><p>
+Marriage of the Hopituh within phratries and gentes</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td><p>
+Mashongnavi, origin of name of</p></td>
+<td class="number"><a href="#page026">26</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+settlement of Paroquet and Katchina peoples in</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+settlementof the Water people at</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of ruins of</td>
+<td class="number"><a href="#page048">48</a></td>
+</tr>
+<tr>
+<td class="inset">
+age of masonry at</td>
+<td class="number"><a href="#page066">66</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page066">66</a>-<a href="#page070">70</a></td>
+</tr>
+<tr>
+<td class="inset">
+ground plan of room of</td>
+<td class="number"><a href="#page108">108</a></td>
+</tr>
+<tr>
+<td class="inset">
+direction of kivas of</td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+description of dais of kiva at</p></td>
+<td class="number"><a href="#page122">122</a></td>
+</tr>
+<tr>
+<td class="inset">
+list of kivas at</td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+wall decoration at</td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td class="inset">
+notched ladder of</td>
+<td class="number"><a href="#page157">157</a>-<a href="#page158">158</a></td>
+</tr>
+<tr>
+<td class="inset">
+pi-gummi ovens at</td>
+<td class="number"><a href="#page163">163</a>-<a href="#page164">164</a></td>
+</tr>
+<tr>
+<td class="inset">
+shrines of</td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td class="inset">
+chimney hoods of</td>
+<td class="number"><a href="#page170">170</a>-<a href="#page171">171</a></td>
+</tr>
+<tr>
+<td class="inset">
+second-story fireplace at</td>
+<td class="number"><a href="#page174">174</a></td>
+</tr>
+<tr>
+<td class="inset">
+doorway with transom at</td>
+<td class="number"><a href="#page190">190</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+corrals of rude stonework at</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td class="inset">
+See Old Mashongnavi.</td>
+<td></td>
+</tr>
+<tr>
+<td>Masonry, ancient, at Nutria</td>
+<td class="number"><a href="#page094">94</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Ojo Caliente carelessly constructed</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+exterior, of kivas</td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td><p>
+Masonry of Pueblo Bonito, skill shown in</p></td>
+<td class="number"><a href="#page195">195</a></td>
+</tr>
+<tr>
+<td>Mat close for kiva hatchways</td>
+<td class="number"><a href="#page127">127</a>, <a href="#page128">128</a></td>
+</tr>
+<tr>
+<td>Matsaki, description of</td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+sun symbol at</td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>
+Meal, votive, used in pueblo house-building</p></td>
+<td class="number"><a href="#page101">101</a></td>
+</tr>
+<tr>
+<td>Mealing trough. See Milling.</td>
+<td></td>
+</tr>
+<tr>
+<td>Metate used as roof-drain</td>
+<td class="number"><a href="#page154">154</a>, <a href="#page155">155</a></td>
+</tr>
+<tr>
+<td><p>
+Metates, or grinding stones, how arranged in pueblo houses</p></td>
+<td class="number"><a href="#page109">109</a>, <a href="#page110">110</a>, <a href="#page210">210</a>, <a href="#page211">211</a></td>
+</tr>
+<tr>
+<td><p>
+Migration, effect of, upon pueblo architecture</p></td>
+<td class="number"><a href="#page015">15</a></td>
+</tr>
+<tr>
+<td>Migration of the Tusayan</td>
+<td class="number"><a href="#page017">17</a></td>
+</tr>
+<tr>
+<td><p>
+Migration of Tusayan Water people</p></td>
+<td class="number"><a href="#page031">31</a>, <a href="#page032">32</a></td>
+</tr>
+<tr>
+<td>Migration of the Horn people</td>
+<td class="number"><a href="#page018">18</a>, <a href="#page019">19</a></td>
+</tr>
+<tr>
+<td><p>
+Migration of the Bear people of Tusayan</p></td>
+<td class="number"><a href="#page020">20</a></td>
+</tr>
+<tr>
+<td><p>
+Migration of the Asanynmu of Tusayan</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>
+Milling troughs of Pueblo households</p></td>
+<td class="number"><a href="#page109">109</a>, <a href="#page210">210</a>, <a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>
+Mindeleff, Cosmos, acknowledgments to</p></td>
+<td class="number"><a href="#page014">14</a>, <a href="#page015">15</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on traditional history of Tusayan</p></td>
+<td class="number"><a href="#page016">16</a>-<a href="#page041">41</a></td>
+</tr>
+<tr>
+<td><p>
+Mindeleff, Victor, paper on pueblo architecture</p></td>
+<td class="number"><a href="#page003">3</a>-<a href="#page228">228</a></td>
+</tr>
+<tr>
+<td><p>
+Mishiptonga, description of ruin of</p></td>
+<td class="number"><a href="#page052">52</a>-<a href="#page053">53</a></td>
+</tr>
+<tr>
+<td><p>
+Mission buildings of Shumopavi</p></td>
+<td class="number"><a href="#page027">27</a>, <a href="#page075">75</a>-<a href="#page076">76</a></td>
+</tr>
+<tr>
+<td><p>
+Mission house at Walpi, timbers of, used in Walpi kiva</p></td>
+<td class="number"><a href="#page119">119</a></td>
+</tr>
+<tr>
+<td>Missions of Tusayan</td>
+<td class="number"><a href="#page022">22</a>, <a href="#page049">49</a></td>
+</tr>
+<tr>
+<td><p>
+Moen-kopi surveyed and studied</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of ruins of</td>
+<td class="number"><a href="#page053">53</a>-<a href="#page054">54</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of village of</td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td><p>
+Mole people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>
+Montezuma Canyon ruins, use of large stone blocks in</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>
+Monument marking boundary of Oraibi and Shumopavi</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>
+Morgan, L.H., Mandan ladder described by</p></td>
+<td class="number"><a href="#page158">158</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on. trap-door frames in Las Animas ruins</p></td>
+<td class="number"><a href="#page205">205</a></td>
+</tr>
+<tr>
+<td><p>
+Mormon and Pueblo building compared</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>
+Mormons, effect of the, upon development of Moen-kopi</p></td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+establishment of woolen mill at Moen-kopi by the</p></td>
+<td class="number"><a href="#page078">78</a></td>
+</tr>
+<tr>
+<td class="inset">
+fort built by, at Moen-kopi</td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td class="inset">
+lock and key contrivance of</td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td>Mortar of adobe mud</td>
+<td class="number"><a href="#page137">137</a></td>
+</tr>
+<tr>
+<td><p>
+Mortars used in Pueblo households</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td>Mortised door in Zuñi house</td>
+<td class="number"><a href="#page110">110</a>, <a href="#page186">186</a></td>
+</tr>
+<tr>
+<td>Mummy cave, Arizona, ruin in</td>
+<td class="number"><a href="#page064">64</a></td>
+</tr>
+<tr>
+<td class="inset">
+finish of roofs in ruins of</td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td>Mungkiva, Mashongnavi</td>
+<td class="number"><a href="#page127">127</a></td>
+</tr>
+<tr>
+<td class="inset">
+of Shupaulovi</td>
+<td class="number"><a href="#page113">113</a>, <a href="#page122">122</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tusayan</td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">N</td>
+</tr>
+<tr>
+<td>Nambé, Tewa pueblo</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Navajo, Asa of Tusayan live among</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+huts of, closed with blankets</p></td>
+<td class="number"><a href="#page189">189</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+method of sheep-herding compared with Pueblo</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Nelson, E.W., graves unearthed by</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+collection of stone-closes by</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td>Niches, use of, in kivas</td>
+<td class="number"><a href="#page121">121</a>, <a href="#page122">122</a></td>
+</tr>
+<tr>
+<td><p>
+Niches formed in old window openings</p></td>
+<td class="number"><a href="#page110">110</a>, <a href="#page200">200</a>, <a href="#page208">208</a>-<a href="#page209">209</a></td>
+</tr>
+<tr>
+<td><p>
+Nomenclature of Tusayan structural details</p></td>
+<td class="number"><a href="#page220">220</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td>Númi. See Nambé.</td>
+<td></td>
+</tr>
+<tr>
+<td>Notched logs used as ladders</td>
+<td class="number"><a href="#page157">157</a>-<a href="#page158">158</a></td>
+</tr>
+<tr>
+<td><p>
+Nutria, compared with Kin-tiel</p></td>
+<td class="number"><a href="#page091">91</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page091">91</a>-<a href="#page095">95</a></td>
+</tr>
+<tr>
+<td><p>
+Nuvayauma, old Mashongnavi tradition related by</p></td>
+<td class="number"><a href="#page047">47</a>-<a href="#page048">48</a></td>
+</tr>
+<tr>
+<td>Nuvwatikyuobi kiva</td>
+<td class="number"><a href="#page120">120</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">O</td>
+</tr>
+<tr>
+<td><p>
+Oak mound kiva, Tusayan, decadence of membership of</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td>Ohke. See San Juan.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Ojo Caliente, a modern village</p></td>
+<td class="number"><a href="#page054">54</a>, <a href="#page096">96</a>-<a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset">
+chinked walls of</td>
+<td class="number"><a href="#page142">142</a></td>
+</tr>
+<tr>
+<td><p>
+Old Mashongnavi, tradition concerning occupation of</p></td>
+<td class="number"><a href="#page047">47</a>-<a href="#page048">48</a></td>
+</tr>
+<tr>
+<td><p>
+Openings, splayed, in Ketchipauan church</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+walls of Tâaaiyalana structures</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+Kin-tiel walls</td>
+<td class="number"><a href="#page092">92</a>, <a href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset">
+oblique Zuñi</td>
+<td class="number"><a href="#page098">98</a>, <a href="#page207">207</a>-<a href="#page208">208</a></td>
+</tr>
+<tr>
+<td class="inset">
+to kivas</td>
+<td class="number"><a href="#page113">113</a>-<a href="#page114">114</a></td>
+</tr>
+<tr>
+<td class="inset">
+in wall of Zuñi kiva</td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td class="inset">
+in lee walls</td>
+<td class="number"><a href="#page182">182</a></td>
+</tr>
+<tr>
+<td><p>
+Openings of Pueblo houses banded with whitewash</p></td>
+<td class="number"><a href="#page145">145</a>-<a href="#page146">146</a></td>
+</tr>
+<tr>
+<td><p>
+Oraibi, retirement of Sikyátki inhabitants to</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+departure of Ketchina and Paroquet peoples from</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+settlement by the Bears of</td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+traditions regarding first settlement of</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+settlement of the Water people at</p></td>
+<td class="number"><a href="#page033">33</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+affray between the Walpi and</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page076">76</a>-<a href="#page077">77</a></td>
+</tr>
+<tr>
+<td class="inset">
+families occupying</td>
+<td class="number"><a href="#page105">105</a>-<a href="#page108">108</a></td>
+</tr>
+<tr>
+<td class="inset">
+direction of kivas of</td>
+<td class="number"><a href="#page115">115</a>-<a href="#page116">116</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+rare use of plastering on outer walls of</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td><p>
+Oraibi, notched ladders described and figured</p></td>
+<td class="number"><a href="#page157">157</a>-<a href="#page158">158</a></td>
+</tr>
+<tr>
+<td class="inset">
+stone steps at, figured</td>
+<td class="number"><a href="#page161">161</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+corral walls at, laid without mortar</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td class="inset">
+distribution of gentes of</td>
+<td class="number"><a href="#page104">104</a>-<a href="#page105">105</a></td>
+</tr>
+<tr>
+<td class="inset">
+kiva for women</td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+list of kivas of</td>
+<td class="number"><a href="#page137">137</a></td>
+</tr>
+<tr>
+<td class="inset">
+kiva, hatchway of</td>
+<td class="number"><a href="#page201">201</a></td>
+</tr>
+<tr>
+<td class="inset">
+corrals at, large size of</td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Oraibi-Shumopavi boundary stone</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td>Oraibi wash, ruins on the</td>
+<td class="number"><a href="#page054">54</a>-<a href="#page056">56</a></td>
+</tr>
+<tr>
+<td>Orientation of kivas</td>
+<td class="number"><a href="#page115">115</a>-<a href="#page116">116</a></td>
+</tr>
+<tr>
+<td>Ovens at Pescado</td>
+<td class="number"><a href="#page095">95</a></td>
+</tr>
+<tr>
+<td class="inset">
+upon roofs</td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td class="inset">
+various kinds described</td>
+<td class="number"><a href="#page162">162</a>-<a href="#page166">166</a></td>
+</tr>
+<tr>
+<td class="inset">
+in Zuñi</td>
+<td class="number"><a href="#page164">164</a>-<a href="#page165">165</a></td>
+</tr>
+<tr>
+<td><p>
+Oven-shaped structures described and figured</p></td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td><p>
+Oven-surface imbedded with pottery scales</p></td>
+<td class="number"><a href="#page139">139</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">P</td>
+</tr>
+<tr>
+<td>Paintings on kiva walls</td>
+<td class="number"><a href="#page131">131</a></td>
+</tr>
+<tr>
+<td><p>
+Palát Kivabi, the pristine habitat of the Squash and Sun people of
+Tusayan</p></td>
+<td class="number"><a href="#page025">25</a>, <a href="#page029">29</a></td>
+</tr>
+<tr>
+<td><p>
+Paneled doors in modern pueblos</p></td>
+<td class="number"><a href="#page184">184</a>-<a href="#page186">186</a></td>
+</tr>
+<tr>
+<td><p>
+Parallelogramic form of Tusayan buildings</p></td>
+<td class="number"><a href="#page102">102</a>-<a href="#page118">118</a></td>
+</tr>
+<tr>
+<td><p>
+Paroquet people, settlement in Shumopavi of the</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Partitions in Ketchipauan church</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td><p>
+Partitions of upper story supported by beams</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td>Passageways, Shupaulovi</td>
+<td class="number"><a href="#page072">72</a></td>
+</tr>
+<tr>
+<td class="inset">
+Shumopavi</td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+rarity of, at Oraibi</td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page180">180</a>-<a href="#page182">182</a></td>
+</tr>
+<tr>
+<td>Paving Shupaulovi kiva</td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>
+Paving stones of kiva floor, how finished</p></td>
+<td class="number"><a href="#page125">125</a></td>
+</tr>
+<tr>
+<td><p>
+Payupki, tradition concerning pueblo of</p></td>
+<td class="number"><a href="#page040">40</a></td>
+</tr>
+<tr>
+<td class="inset">
+migration legend</td>
+<td class="number"><a href="#page040">40</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page059">59</a>-<a href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+finish of masonry of</td>
+<td class="number"><a href="#page143">143</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+fragments of passage wall at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>
+Peaches planted by the Asa people</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>
+Pegs, deer horns used as, in Zuñi</p></td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td>Pegs for suspending kiva fuel</td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>
+Peña Blanca formerly inhabited by the Hano</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>
+Peñasco Blanco, occurrence of upright stone slab at</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+method of roof construction at</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>
+Pescado compared with Kin-tiel</p></td>
+<td class="number"><a href="#page091">91</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page095">95</a>-<a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+corral walls at, how constructed</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td class="inset">
+outside steps at</td>
+<td class="number"><a href="#page160">160</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+ovens at, described and figured</p></td>
+<td class="number"><a href="#page165">165</a>-<a href="#page166">166</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+fragment of stone close in steps of</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td class="inset">
+stone inclosure in court of</td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Pestles or crushers used with Pueblo mortars</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>
+Petroglyph, or sun-symbol at Matsaki</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+Ketchipauan church</td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+legend of the Tusayan concerning</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td>Phratries, Tusayan</td>
+<td class="number"><a href="#page024">24</a>, <a href="#page038">38</a></td>
+</tr>
+<tr>
+<td><p>
+Pictograph on Oraibi-Shumopavi boundary monument</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>
+Piers of masonry for supporting girders</p></td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td>Piers. See Buttresses.</td>
+<td></td>
+</tr>
+<tr>
+<td>Pi-gummi ovens of Mashongnavi</td>
+<td class="number"><a href="#page163">163</a></td>
+</tr>
+<tr>
+<td>Piki or guyave oven</td>
+<td class="number"><a href="#page173">173</a>-<a href="#page175">175</a></td>
+</tr>
+<tr>
+<td>Piki stone, process of making</td>
+<td class="number"><a href="#page175">175</a></td>
+</tr>
+<tr>
+<td><p>
+Pima, myth of the Water people of Tusayan concerning the</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+opinion of the, as to ancient stone inclosures</p></td>
+<td class="number"><a href="#page216">216</a></td>
+</tr>
+<tr>
+<td>Pinawa, description of</td>
+<td class="number"><a href="#page086">86</a>, <a href="#page088">88</a></td>
+</tr>
+<tr>
+<td><p>
+Pine invariably used for kiva ladders</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td><p>
+Pink clay used in house decorations</p></td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td>Pits for cooking</td>
+<td class="number"><a href="#page163">163</a></td>
+</tr>
+<tr>
+<td><p>
+Plan of villages, traditional mention of</p></td>
+<td class="number"><a href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>
+Plans and descriptions, Tusayan ruins</p></td>
+<td class="number"><a href="#page045">45</a>-<a href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+inhabited villages</td>
+<td class="number"><a href="#page061">61</a>-<a href="#page079">79</a></td>
+</tr>
+<tr>
+<td class="inset">
+Cibolan ruins</td>
+<td class="number"><a href="#page080">80</a></td>
+</tr>
+<tr>
+<td class="inset">
+Zuñi villages</td>
+<td class="number"><a href="#page094">94</a>-<a href="#page099">99</a></td>
+</tr>
+<tr>
+<td><p>
+Plan of pueblo houses not usually prearranged</p></td>
+<td class="number"><a href="#page100">100</a>-<a href="#page162">162</a></td>
+</tr>
+<tr>
+<td><p>
+Planting time, how determined in Zuñi</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>
+Plaster, frequent renewal of, at Shumopavi</p></td>
+<td class="number"><a href="#page073">73</a></td>
+</tr>
+<tr>
+<td><p>
+Plastering, renovation of rooms by frequent</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on outer walls in Ojo Caliente</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+custom formerly observed in</td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+on floor in Mashongnavi</td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td class="inset">
+kiva walls</td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Shupaulovi kiva, condition of</p></td>
+<td class="number"><a href="#page124">124</a>-<a href="#page125">125</a></td>
+</tr>
+<tr>
+<td class="inset">
+Shupaulovi kiva</td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td class="inset">
+on walls</td>
+<td class="number"><a href="#page140">140</a></td>
+</tr>
+<tr>
+<td class="inset">
+on masonry</td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+chimney hoods</td>
+<td class="number"><a href="#page169">169</a>, <a href="#page172">172</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+side hole of door for fastening</p></td>
+<td class="number"><a href="#page183">183</a>-<a href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>
+Platform in floor of Tusayan kiva</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td>Platform at head of steps</td>
+<td class="number"><a href="#page161">161</a>-<a href="#page162">162</a></td>
+</tr>
+<tr>
+<td>Plaza. See Court.</td>
+<td></td>
+</tr>
+<tr>
+<td>Plume boxes</td>
+<td class="number"><a href="#page210">210</a></td>
+</tr>
+<tr>
+<td><p>
+Plume stick, baho, or feather wand, used in Kiva consecratory
+ceremonials</p></td>
+<td class="number"><a href="#page119">119</a>-<a href="#page120">120</a>, <a href="#page129">129</a>, <a href="#page130">130</a></td>
+</tr>
+<tr>
+<td><p>
+Plume-stick shrines at Mashongnavi</p></td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td>Pojoaque, a Tewa pueblo</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Pokwádi. See Pojoaque</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Polaka, Hano tradition given by</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>
+Poles for suspension of blankets, etc.</p></td>
+<td class="number"><a href="#page110">110</a>, <a href="#page189">189</a>, <a href="#page208">208</a>, <a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Ponobi kiva of Oraibi, wall lathing of</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>
+Population, enlargement of pueblos necessitated by increase of</p></td>
+<td class="number"><a href="#page070">70</a></td>
+</tr>
+<tr>
+<td>Porch posts</td>
+<td class="number"><a href="#page081">81</a>, <a href="#page082">82</a></td>
+</tr>
+<tr>
+<td>Posówe, a former Tewa pueblo</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Posts of porch, remains of, at Hawikuh and Ketchipauan</p></td>
+<td class="number"><a href="#page081">81</a>, <a href="#page082">82</a></td>
+</tr>
+<tr>
+<td><p>
+Posts sunk in floor forming part of loom</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>
+Pots used in chimney construction</p></td>
+<td class="number"><a href="#page179">179</a>-<a href="#page180">180</a></td>
+</tr>
+<tr>
+<td><p>
+Pottery fragments, Horn House ruin</p></td>
+<td class="number"><a href="#page051">51</a></td>
+</tr>
+<tr>
+<td class="inset">
+Kwaituki</td>
+<td class="number"><a href="#page057">57</a></td>
+</tr>
+<tr>
+<td class="inset">
+ruin on Oraibi wash</td>
+<td class="number"><a href="#page055">55</a></td>
+</tr>
+<tr>
+<td class="inset">
+used in mud-plastered walls</td>
+<td class="number"><a href="#page139">139</a></td>
+</tr>
+<tr>
+<td><p>
+Pottery of Payupki, character of</p></td>
+<td class="number"><a href="#page060">60</a></td>
+</tr>
+<tr>
+<td>Poultry house of Sichumovi</td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td><p>
+Prayer plume, or baho, used in kiva consecratory ceremonials</p></td>
+<td class="number"><a href="#page119">119</a>, <a href="#page120">120</a>, <a href="#page129">129</a>, <a href="#page130">130</a></td>
+</tr>
+<tr>
+<td><p>
+Props used for fastening wooden doors</p></td>
+<td class="number"><a href="#page183">183</a></td>
+</tr>
+<tr>
+<td><p>
+Pueblo architecture, study of, by Victor Mindeleff</p></td>
+<td class="number"><a href="#page008">8</a>-<a href="#page228">228</a></td>
+</tr>
+<tr>
+<td>Pueblo Bonito, additions to</td>
+<td class="number"><a href="#page070">70</a></td>
+</tr>
+<tr>
+<td class="inset">
+the largest yet examined</td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+finish of roof of</td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td class="inset">
+stairway described</td>
+<td class="number"><a href="#page160">160</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+symmetry of arrangement of outer openings of</p></td>
+<td class="number"><a href="#page195">195</a></td>
+</tr>
+<tr>
+<td class="inset">
+skill shown in masonry of</td>
+<td class="number"><a href="#page195">195</a></td>
+</tr>
+<tr>
+<td><p>
+Pueblo buildings, mode of additions to</p></td>
+<td class="number"><a href="#page070">70</a>, <a href="#page097">97</a>, <a href="#page098">98</a>, <a href="#page102">102</a>, <a href="#page148">148</a>-<a href="#page149">149</a></td>
+</tr>
+<tr>
+<td><p>
+Pueblo construction in Tusayan and Cibola, details of</p></td>
+<td class="number"><a href="#page137">137</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td>Pueblo Grande. See Kin-tiel.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Pueblo openings, carelessness in placing</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td><p>
+Pueblo remains, area occupied by</p></td>
+<td class="number"><a href="#page013">13</a></td>
+</tr>
+<tr>
+<td>Pueblo revolt of 1680</td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td><p>
+Pueblos of Tusayan and Cibola compared</p></td>
+<td class="number"><a href="#page080">80</a></td>
+</tr>
+<tr>
+<td>Pueblos, inhabited</td>
+<td class="number"><a href="#page061">61</a>-<a href="#page079">79</a>, <a href="#page094">94</a>-<a href="#page099">99</a></td>
+</tr>
+<tr>
+<td><p>
+Pyramidal form of pueblo house rows</p></td>
+<td class="number"><a href="#page061">61</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">R</td>
+</tr>
+<tr>
+<td><p>
+Rabbit-skin robes used to cover doorways</p></td>
+<td class="number"><a href="#page182">182</a>, <a href="#page194">194</a></td>
+</tr>
+<tr>
+<td>Racks for suspending clothes</td>
+<td class="number"><a href="#page208">208</a>, <a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Rawhide thong used in pueblo construction to fasten lock</p></td>
+<td class="number"><a href="#page186">186</a>, <a href="#page187">187</a>, <a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>
+Rectangular kivas, antiquity of</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td><p>
+Rectangular rooms, how developed</p></td>
+<td class="number"><a href="#page226">226</a></td>
+</tr>
+<tr>
+<td><p>
+Rectangular type of architecture</p></td>
+<td class="number"><a href="#page072">72</a></td>
+</tr>
+<tr>
+<td>Reeds used for kiva lathing</td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>
+Repair of houses infrequent in Tusayan</p></td>
+<td class="number"><a href="#page073">73</a></td>
+</tr>
+<tr>
+<td>Reservoirs, pueblo</td>
+<td class="number"><a href="#page082">82</a>-<a href="#page083">83</a>, <a href="#page091">91</a>, <a href="#page092">92</a>, <a href="#page097">97</a></td>
+</tr>
+<tr>
+<td><p>
+Reservoir site as affecting selection of dwelling site</p></td>
+<td class="number"><a href="#page051">51</a>-<a href="#page052">52</a></td>
+</tr>
+<tr>
+<td>Revolt of the Pueblos in 1680</td>
+<td class="number"><a href="#page023">23</a></td>
+</tr>
+<tr>
+<td><p>
+Rites and methods of Tusayan kiva building</p></td>
+<td class="number"><a href="#page118">118</a>-<a href="#page137">137</a></td>
+</tr>
+<tr>
+<td><p>
+Rites of house-building at Tusayan</p></td>
+<td class="number"><a href="#page100">100</a>-<a href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>
+Rito de los Frijoles, chimney of, described</p></td>
+<td class="number"><a href="#page173">173</a></td>
+</tr>
+<tr>
+<td><p>
+Roof construction, pueblo buildings</p></td>
+<td class="number"><a href="#page120">120</a>, <a href="#page149">149</a></td>
+</tr>
+<tr>
+<td>Roof-coping of Tusayan houses</td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td>Roof-drains, pueblo buildings</td>
+<td class="number"><a href="#page102">102</a>, <a href="#page153">153</a>-<a href="#page156">156</a></td>
+</tr>
+<tr>
+<td><p>
+Roof-openings, pueblo buildings</p></td>
+<td class="number"><a href="#page061">61</a>, <a href="#page063">63</a>, <a href="#page077">77</a>, <a href="#page098">98</a>, <a href="#page169">169</a>, <a href="#page178">178</a>, <a href="#page201">201</a>-<a href="#page208">208</a></td>
+</tr>
+<tr>
+<td>Roofs, pueblo buildings</td>
+<td class="number"><a href="#page063">63</a>, <a href="#page102">102</a>, <a href="#page119">119</a>, <a href="#page148">148</a>-<a href="#page151">151</a></td>
+</tr>
+<tr>
+<td>Roof timbers of kivas</td>
+<td class="number"><a href="#page119">119</a></td>
+</tr>
+<tr>
+<td><p>
+Rooms, arrangement of, into rows in Tusayan</p></td>
+<td class="number"><a href="#page049">49</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+confused arrangement of, in Walpi</p></td>
+<td class="number"><a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Tâaaiyalana ruins, arrangement of</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+circular, at Kin-tiel</td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Tusayan, smaller than in Zuñi</p></td>
+<td class="number"><a href="#page108">108</a></td>
+</tr>
+<tr>
+<td class="inset">
+names of, in Tusayan</td>
+<td class="number"><a href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>
+Rows of houses forming Shumopavi</p></td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td>Ruins, method of survey of</td>
+<td class="number"><a href="#page045">45</a></td>
+</tr>
+<tr>
+<td>Ruins, Tusayan</td>
+<td class="number"><a href="#page045">45</a>-<a href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+between Horn House and Bat House</p></td>
+<td class="number"><a href="#page051">51</a></td>
+</tr>
+<tr>
+<td class="inset">
+Oraibi wash</td>
+<td class="number"><a href="#page054">54</a>-<a href="#page056">56</a></td>
+</tr>
+<tr>
+<td class="inset">
+Cibola</td>
+<td class="number"><a href="#page080">80</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tâaaiyalana</td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td><p>
+Rungs of ladders, how attached</p></td>
+<td class="number"><a href="#page158">158</a>, <a href="#page159">159</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">S</td>
+</tr>
+<tr>
+<td><p>
+Sacrifices of food in Tusayan house-building</p></td>
+<td class="number"><a href="#page101">101</a>, <a href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>
+Sandals of yucca found in Canyon de Chelly</p></td>
+<td class="number"><a href="#page133">133</a></td>
+</tr>
+<tr>
+<td><p>
+Sandstone used in pueblo construction, how quarried</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>
+San Felipe, return of Payupki to</p></td>
+<td class="number"><a href="#page041">41</a></td>
+</tr>
+<tr>
+<td>San Juan, a Tewa pueblo</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Santa Clara doubtfully identified with Kápung</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>
+Santo Domingo, settlement of the Asanyumu</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>
+Sash of rude construction in window openings</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td><p>
+Sealing of doorways of pueblo buildings</p></td>
+<td class="number"><a href="#page110">110</a>, <a href="#page183">183</a>-<a href="#page184">184</a>, <a href="#page198">198</a>-<a href="#page201">201</a></td>
+</tr>
+<tr>
+<td><p>
+Seats of stone in Tusayan kivas</p></td>
+<td class="number"><a href="#page132">132</a></td>
+</tr>
+<tr>
+<td><p>
+Selenite used in pueblo windows</p></td>
+<td class="number"><a href="#page196">196</a>, <a href="#page197">197</a></td>
+</tr>
+<tr>
+<td><p>
+Semisubterranean kivas of Tusayan</p></td>
+<td class="number"><a href="#page113">113</a></td>
+</tr>
+<tr>
+<td><p>
+Seven cities of Cibola. See Cibola.</p></td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Sheep, introduced into Tusayan</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td class="inset">
+possessed by the Awatubi</td>
+<td class="number"><a href="#page050">50</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+introduction of, among the Pueblos</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td>Shitáimu pueblo</td>
+<td class="number"><a href="#page028">28</a>, <a href="#page048">48</a>, <a href="#page049">49</a></td>
+</tr>
+<tr>
+<td>Shelters in pueblo fields</td>
+<td class="number"><a href="#page060">60</a>, <a href="#page198">198</a>, <a href="#page217">217</a>-<a href="#page219">219</a></td>
+</tr>
+<tr>
+<td>Shelves, pueblo buildings</td>
+<td class="number"><a href="#page109">109</a>, <a href="#page173">173</a>, <a href="#page209">209</a></td>
+</tr>
+<tr>
+<td>Shrine, Matsaki</td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+court of Shupaulovi</td>
+<td class="number"><a href="#page071">71</a></td>
+</tr>
+<tr>
+<td class="inset">
+court of Shumopavi</td>
+<td class="number"><a href="#page075">75</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tâaaiyalana</td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td>Shrines, pueblo</td>
+<td class="number"><a href="#page072">72</a>, <a href="#page148">148</a>, <a href="#page167">167</a></td>
+</tr>
+<tr>
+<td><p>
+Shumopavi, Spanish mission established at</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td class="inset">
+by whom built</td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+removal of portion of Bear people from</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page073">73</a>-<a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+kivas of</td>
+<td class="number"><a href="#page113">113</a>, <a href="#page114">114</a>, <a href="#page137">137</a></td>
+</tr>
+<tr>
+<td class="inset">
+primitive andiron at</td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td class="inset">
+piki stone at</td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td class="inset">
+fireplace and chimney of</td>
+<td class="number"><a href="#page176">176</a>, <a href="#page177">177</a></td>
+</tr>
+<tr>
+<td class="inset">
+ground cooking-pit of</td>
+<td class="number"><a href="#page178">178</a></td>
+</tr>
+<tr>
+<td><p>
+Shumopavi-Oraibi boundary stone</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>
+Shumopavi people, removal of, to mesa site</p></td>
+<td class="number"><a href="#page023">23</a></td>
+</tr>
+<tr>
+<td><p>
+Shupaulovi, settlement of Paroquet and Ketchina peoples in</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+when established</td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+settlement of Bear people at</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+settlement of the water people at</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page071">71</a>-<a href="#page073">73</a></td>
+</tr>
+<tr>
+<td class="inset">
+mungkiva of, described</td>
+<td class="number"><a href="#page113">113</a></td>
+</tr>
+<tr>
+<td class="inset">
+direction of kivas of</td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+description of dais of kiva of</p></td>
+<td class="number"><a href="#page123">123</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+ground and ceiling plans of kiva of</p></td>
+<td class="number"><a href="#page125">125</a></td>
+</tr>
+<tr>
+<td class="inset">
+list of kivas of</td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+description of chimney-hood at</p></td>
+<td class="number"><a href="#page171">171</a>, <a href="#page172">172</a></td>
+</tr>
+<tr>
+<td class="inset">
+passageway at, described</td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>
+Sichumovi, settled by peoples from Walpi</p></td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td class="inset">
+derivation of term</td>
+<td class="number"><a href="#page038">38</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page062">62</a>, <a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+direction of kivas of</td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset">
+ownership of kiva of</td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+list of kivas of</td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+poultry-house of</td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td class="inset">
+fireplace and mantel of</td>
+<td class="number"><a href="#page173">173</a></td>
+</tr>
+<tr>
+<td class="inset">
+piki stone at</td>
+<td class="number"><a href="#page175">175</a></td>
+</tr>
+<tr>
+<td>Sikyatki, ruin of</td>
+<td class="number"><a href="#page020">20</a>, <a href="#page021">21</a></td>
+</tr>
+<tr>
+<td class="inset">
+pueblo of</td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+ancient kiva near</td>
+<td class="number"><a href="#page117">117</a></td>
+</tr>
+<tr>
+<td><p>
+Sikyátki people dispute with the Walpi</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+slaughtered by the Walpi</td>
+<td class="number"><a href="#page025">25</a></td>
+</tr>
+<tr>
+<td>Sills of doors</td>
+<td class="number"><a href="#page110">110</a>, <a href="#page186">186</a>, <a href="#page194">194</a></td>
+</tr>
+<tr>
+<td>Sióki. See Zuñi</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td>Sipapuh, Tusayan kivas</td>
+<td class="number"><a href="#page117">117</a>, <a href="#page121">121</a>, <a href="#page122">122</a>, <a href="#page123">123</a>, <a href="#page126">126</a>, <a href="#page130">130</a>, <a href="#page131">131</a>, <a href="#page135">135</a></td>
+</tr>
+<tr>
+<td><p>
+Sites of pueblo buildings, why selected</p></td>
+<td class="number"><a href="#page063">63</a>, <a href="#page066">66</a>, <a href="#page090">90</a>, <a href="#page097">97</a>, <a href="#page112">112</a>, <a href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>
+Slabs of stone in pueblo architecture</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td>Slavery among the Tusayan</td>
+<td class="number"><a href="#page041">41</a></td>
+</tr>
+<tr>
+<td>Smallpox prevalent in Tusayan</td>
+<td class="number"><a href="#page038">38</a>, <a href="#page134">134</a></td>
+</tr>
+<tr>
+<td><p>
+Smoke escape through roof-opening and transoms</p></td>
+<td class="number"><a href="#page189">189</a>, <a href="#page204">204</a>, <a href="#page206">206</a>, <a href="#page207">207</a></td>
+</tr>
+<tr>
+<td><p>
+Snake dance, relation of dance-rock to</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>
+Snake people, the first occupants of the Tusayan region</p></td>
+<td class="number"><a href="#page017">17</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+construction of modern Walpi by the</p></td>
+<td class="number"><a href="#page023">23</a></td>
+</tr>
+<tr>
+<td><p>
+Snow, use of, as water supply by the Zuñi</p></td>
+<td class="number"><a href="#page091">91</a></td>
+</tr>
+<tr>
+<td><p>
+Spaniards, early visit of, to Tusayan</p></td>
+<td class="number"><a href="#page021">21</a>, <a href="#page022">22</a></td>
+</tr>
+<tr>
+<td><p>
+Spanish authority, effect of, upon purity of Zuñi kiva type</p></td>
+<td class="number"><a href="#page112">112</a></td>
+</tr>
+<tr>
+<td><p>
+Spanish beams in Tusayan kivas</p></td>
+<td class="number"><a href="#page119">119</a>, <a href="#page123">123</a>, <a href="#page124">124</a>, <a href="#page125">125</a>, <a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>
+Spanish churches at pueblos, Hawikuk</p></td>
+<td class="number"><a href="#page081">81</a>, <a href="#page082">82</a>, <a href="#page138">138</a></td>
+</tr>
+<tr>
+<td><p>
+Spanish influence in Zuñi and Tusayan</p></td>
+<td class="number"><a href="#page169">169</a>, <a href="#page180">180</a>, <a href="#page196">196</a>, <a href="#page213">213</a>, <a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>
+Spanish missions established in Tusayan</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td><p>
+Spider people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>
+Splash-stones described and figured</p></td>
+<td class="number"><a href="#page155">155</a>, <a href="#page156">156</a></td>
+</tr>
+<tr>
+<td><p>
+Splayed openings in Ketchipauan church</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td><p>
+Squash people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page025">25</a></td>
+</tr>
+<tr>
+<td><p>
+Stakes used in construction of stone walls</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>
+Stephen, A. M., material on traditional history of Tusayan collected
+by</p></td>
+<td class="number"><a href="#page016">16</a>-<a href="#page041">41</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+opinion on Walpi architectural features</p></td>
+<td class="number"><a href="#page072">72</a></td>
+</tr>
+<tr>
+<td class="inset">
+acknowledgments to</td>
+<td class="number"><a href="#page100">100</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on distribution of Oraibi gentes</p></td>
+<td class="number"><a href="#page104">104</a>, <a href="#page105">105</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on orientation of Tusayan kivas</p></td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+discovery of ancient kiva type near Sikyatki</p></td>
+<td class="number"><a href="#page117">117</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+typical kiva measurements by</p></td>
+<td class="number"><a href="#page122">122</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on wattling or lathing of kiva walls</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+on significance of structural plan of kiva</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+collection of primitive andirons or bosses by</p></td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td>Steps and ladders described</td>
+<td class="number"><a href="#page156">156</a>-<a href="#page162">162</a></td>
+</tr>
+<tr>
+<td>Steps cut in faces of cliffs</td>
+<td class="number"><a href="#page191">191</a></td>
+</tr>
+<tr>
+<td><p>
+Steps or foot-holes of Walpi trail</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td>Steps to kivas</td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td><p>
+Stone, size, character, and finish of, in pueblo ruins</p></td>
+<td class="number"><a href="#page055">55</a>, <a href="#page058">58</a>, <a href="#page060">60</a>, <a href="#page138">138</a></td>
+</tr>
+<tr>
+<td class="inset">
+means of obtaining, in Zuñi</td>
+<td class="number"><a href="#page139">139</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+effect of use of, in chimney hoods</p></td>
+<td class="number"><a href="#page172">172</a></td>
+</tr>
+<tr>
+<td class="inset">
+corrals</td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+flags used to floor Tusayan kiva</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+inclosures in Southern Arizona</p></td>
+<td class="number"><a href="#page216">216</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+roof drains, curious forms of</p></td>
+<td class="number"><a href="#page154">154</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+shelters, possible remains of, at Payupki</p></td>
+<td class="number"><a href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+slabs formerly used to close doorways</p></td>
+<td class="number"><a href="#page188">188</a></td>
+</tr>
+<tr>
+<td>Stone-close anciently used</td>
+<td class="number"><a href="#page192">192</a>, <a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>
+Stone wedges used in pueblo wall finish</p></td>
+<td class="number"><a href="#page140">140</a>, <a href="#page142">142</a></td>
+</tr>
+<tr>
+<td>Stonework, Shumopavi</td>
+<td class="number"><a href="#page075">75</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+at <ins class="correction" title="text reads ‘Oraib’">Oraibi</ins></p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+Mormon and Pueblos compared</td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td>Stone steps, Pescado</td>
+<td class="number"><a href="#page095">95</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tusayan</td>
+<td class="number"><a href="#page157">157</a></td>
+</tr>
+<tr>
+<td>Stools used by the Pueblos</td>
+<td class="number"><a href="#page212">212</a>, <a href="#page213">213</a></td>
+</tr>
+<tr>
+<td><p>
+Storage facilities of pueblo dwellings</p></td>
+<td class="number"><a href="#page057">57</a>, <a href="#page062">62</a>, <a href="#page103">103</a>, <a href="#page109">109</a>, <a href="#page143">143</a>, <a href="#page144">144</a>, <a href="#page182">182</a>, <a href="#page209">209</a></td>
+</tr>
+<tr>
+<td>Straw adobe made by Spaniards</td>
+<td class="number"><a href="#page138">138</a>, <a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>
+Structural features of kivas similar</p></td>
+<td class="number"><a href="#page129">129</a></td>
+</tr>
+<tr>
+<td><p>
+Subterranean character of kivas</p></td>
+<td class="number"><a href="#page063">63</a>, <a href="#page072">72</a>, <a href="#page112">112</a>, <a href="#page113">113</a></td>
+</tr>
+<tr>
+<td><p>
+Sullivan, Jeremiah, Payupki tradition obtained by</p></td>
+<td class="number"><a href="#page040">40</a></td>
+</tr>
+<tr>
+<td><p>
+Sunflower stalks used in chimney construction</p></td>
+<td class="number"><a href="#page170">170</a></td>
+</tr>
+<tr>
+<td>Sun people of Tusayan</td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td><p>
+Supplies, how taken to Walpi mesa</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>
+Survey of Tusayan and Cibola, methods of</p></td>
+<td class="number"><a href="#page044">44</a>-<a href="#page045">45</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">T</td>
+</tr>
+<tr>
+<td><p>
+<ins class="correction"
+title="text reads ‘Tâaaialana’">Tâaaiyalana</ins>,
+relation of K’iakima to</p></td>
+<td class="number"><a href="#page085">85</a></td>
+</tr>
+<tr>
+<td class="inset">
+stone inclosures at base of</td>
+<td class="number"><a href="#page085">85</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of ruins of</td>
+<td class="number"><a href="#page089">89</a>-<a href="#page091">91</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+flight of Zuñis to, during Pueblo revolt</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+mesa of, temporarily occupied</p></td>
+<td class="number"><a href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>
+Tables not used in Pueblo houses</p></td>
+<td class="number"><a href="#page212">212</a>, <a href="#page214">214</a></td>
+</tr>
+<tr>
+<td>Talla Hogan. See Awatubi</td>
+<td class="number"><a href="#page049">49</a>-<a href="#page050">50</a></td>
+</tr>
+<tr>
+<td><p>
+Taos formerly partly inhabited by the Tewa</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Tceewáge. See Peña Blanca.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Tcosobi or Jay kiva, roof timbers of</p></td>
+<td class="number"><a href="#page120">120</a></td>
+</tr>
+<tr>
+<td><p>
+Tebowúki, an early pueblo of the fire people of Tusayan</p></td>
+<td class="number"><a href="#page020">20</a></td>
+</tr>
+<tr>
+<td><p>
+Tebugkihu or fire-house, description of</p></td>
+<td class="number"><a href="#page057">57</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+fragments of passage-wall at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td>Terraced doorways</td>
+<td class="number"><a href="#page190">190</a>-<a href="#page191">191</a></td>
+</tr>
+<tr>
+<td>Terraced gardens</td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>
+Terraced roofs of Tusayan, names of</p></td>
+<td class="number"><a href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>
+Terrace cooking-pits and fireplaces</p></td>
+<td class="number"><a href="#page174">174</a>-<a href="#page177">177</a></td>
+</tr>
+<tr>
+<td><p>
+Terrace rooms, half open, not seen in ancient pueblos</p></td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td>Terraces, Sichumovi form of</td>
+<td class="number"><a href="#page062">62</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Oraibi, formed by natural causes</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+Zuñi</td>
+<td class="number"><a href="#page097">97</a>, <a href="#page098">98</a>, <a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+ancient pueblos, how reached</p></td>
+<td class="number"><a href="#page156">156</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tusayan names of</td>
+<td class="number"><a href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>
+Tusayan, order of settlement of, by various peoples</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td>Tesuque, a Tewa pueblo</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Tetsógi. See Tesuque.</td>
+<td></td>
+</tr>
+<tr>
+<td>Tewa conflict with the Ute</td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td>Tewa, language of the</td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Tewa. See Hano.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>
+Timbers for roof, kind used in kiva-building</p></td>
+<td class="number"><a href="#page019">19</a></td>
+</tr>
+<tr>
+<td><p>
+Time for planting and harvesting, how determined in Zuñi</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td>Tiponi of Tusayan explained</td>
+<td class="number"><a href="#page131">131</a></td>
+</tr>
+<tr>
+<td><p>
+Topography, houses of Walpi constructed to conform to</p></td>
+<td class="number"><a href="#page064">64</a></td>
+</tr>
+<tr>
+<td class="inset">
+of Shupaulovi</td>
+<td class="number"><a href="#page071">71</a></td>
+</tr>
+<tr>
+<td><p>
+Tradition, historical value of</p></td>
+<td class="number"><a href="#page015">15</a></td>
+</tr>
+<tr>
+<td>Tradition, Tusayan</td>
+<td class="number"><a href="#page016">16</a>-<a href="#page041">41</a></td>
+</tr>
+<tr>
+<td class="inset">
+Hano</td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+regarding Hano and Tusayan languages</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td class="inset">
+concerning Payupki pueblo</td>
+<td class="number"><a href="#page040">40</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+concerning occupancy of Old Mashongnavi</p></td>
+<td class="number"><a href="#page047">47</a>-<a href="#page048">48</a></td>
+</tr>
+<tr>
+<td class="inset">
+of foundation of Walpi</td>
+<td class="number"><a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+concerning circular kivas</td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+Zuñi concerning stone-close</td>
+<td class="number"><a href="#page092">92</a>-<a href="#page193">193</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+concerning early occupancy of former pueblos by existing tribes</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>
+Traditionary gentes of Tusayan, list of</p></td>
+<td class="number"><a href="#page038">38</a></td>
+</tr>
+<tr>
+<td>Trails, Walpi</td>
+<td class="number"><a href="#page065">65</a>, <a href="#page066">66</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tâaaiyalana</td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td>Transoms over pueblo doorways</td>
+<td class="number"><a href="#page187">187</a>-<a href="#page189">189</a></td>
+</tr>
+<tr>
+<td><p>
+Transportation to Walpi mesa, Indian method</p></td>
+<td class="number"><a href="#page066">66</a></td>
+</tr>
+<tr>
+<td>Trapdoors, Sichumovi</td>
+<td class="number"><a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+kivas, no means of fastening</p></td>
+<td class="number"><a href="#page113">113</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+frames furnished with hand-holds</p></td>
+<td class="number"><a href="#page192">192</a></td>
+</tr>
+<tr>
+<td>Tupubi defined</td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td><p>
+Túpkabi. See Canyon de Chelly.</p></td>
+<td></td>
+</tr>
+<tr>
+<td>Tusayan, survey of</td>
+<td class="number"><a href="#page015">15</a></td>
+</tr>
+<tr>
+<td class="inset">
+traditional history of</td>
+<td class="number"><a href="#page016">16</a>-<a href="#page041">41</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+ruins and inhabited villages of</p></td>
+<td class="number"><a href="#page042">42</a>-<a href="#page079">79</a></td>
+</tr>
+<tr>
+<td class="inset">
+house-building rites</td>
+<td class="number"><a href="#page100">100</a>-<a href="#page104">104</a></td>
+</tr>
+<tr>
+<td class="inset">
+houses of, owned by women</td>
+<td class="number"><a href="#page101">101</a></td>
+</tr>
+<tr>
+<td class="inset">
+kivas in</td>
+<td class="number"><a href="#page111">111</a>-<a href="#page137">137</a></td>
+</tr>
+<tr>
+<td class="inset">
+list of kivas of</td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td><p>
+Tusayan and Cibola architecture, compared by constructional
+details</p></td>
+<td class="number"><a href="#page100">100</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td class="inset">
+details of</td>
+<td class="number"><a href="#page137">137</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td>Tusayan. See Hopituh.</td>
+<td></td>
+</tr>
+<tr>
+<td>Tuwahlki, or watch-house</td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td>Tuwii. See Santo Domingo</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>
+Twigs, use of, in roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">U</td>
+</tr>
+<tr>
+<td><p>
+Ute, conflict with, by the Tewa of Hano</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td class="inset">
+inroads of, upon Tusayan</td>
+<td class="number"><a href="#page025">25</a>, <a href="#page026">26</a>, <a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">V</td>
+</tr>
+<tr>
+<td><p>
+Vargas, Don Diego, visit to Tusayan of</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>
+Vocabulary of Tusayan architectural terms</p></td>
+<td class="number"><a href="#page220">220</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">W</td>
+</tr>
+<tr>
+<td><p>
+Walls, how indicated on plans of ruins</p></td>
+<td class="number"><a href="#page045">45</a></td>
+</tr>
+<tr>
+<td class="inset">
+defensive, at Bat House</td>
+<td class="number"><a href="#page052">52</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+construction of, in Moen-kopi ruins</p></td>
+<td class="number"><a href="#page053">53</a></td>
+</tr>
+<tr>
+<td class="inset">
+curved, instances of</td>
+<td class="number"><a href="#page054">54</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+showing precision of workmanship</p></td>
+<td class="number"><a href="#page054">54</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+dimensions in Tâaaiyalana mesa</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+original height of, indicated by débris</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+thickness of, in modern Tusayan</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+paintings on, in Tusayan kiva</p></td>
+<td class="number"><a href="#page131">131</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+pueblo, mode of construction of</p></td>
+<td class="number"><a href="#page137">137</a>-<a href="#page148">148</a></td>
+</tr>
+<tr>
+<td class="inset">
+copings of</td>
+<td class="number"><a href="#page139">139</a>, <a href="#page151">151</a>, <a href="#page152">152</a></td>
+</tr>
+<tr>
+<td>Walls, strength of</td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+weakness of, in Zuñi</td>
+<td class="number"><a href="#page182">182</a></td>
+</tr>
+<tr>
+<td class="inset">
+of gardens</td>
+<td class="number"><a href="#page215">215</a></td>
+</tr>
+<tr>
+<td><p>
+Walpi, settlement of Bear people at</p></td>
+<td class="number"><a href="#page021">21</a>, <a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+Spanish mission established at</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+construction of, by the Snake people</p></td>
+<td class="number"><a href="#page023">23</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+dispute of, with the Sikyatki</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+settlement of the Asa at</td>
+<td class="number"><a href="#page030">30</a>, <a href="#page031">31</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+abandoned by Bear, Lizard, Asa, and Badger peoples</p></td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of</td>
+<td class="number"><a href="#page063">63</a>-<a href="#page066">66</a></td>
+</tr>
+<tr>
+<td class="inset">
+court-surrounded kiva of</td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td class="inset">
+kivas of</td>
+<td class="number"><a href="#page119">119</a>, <a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+upper story partitions of, supported by beams</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+use of large stone blocks in garden walls of</p></td>
+<td class="number"><a href="#page047">47</a></td>
+</tr>
+<tr>
+<td class="inset">
+cooking pit at</td>
+<td class="number"><a href="#page176">176</a>, <a href="#page177">177</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+south passageway of, described</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>
+Walpi people, attack of Awatubi by the</p></td>
+<td class="number"><a href="#page034">34</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+affray between the Oraibi and</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+trouble between the Hano and</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+various pueblos formerly occupied by the</p></td>
+<td class="number"><a href="#page046">46</a>, <a href="#page047">47</a></td>
+</tr>
+<tr>
+<td><p>
+Warp-sticks, mode of supporting</p></td>
+<td class="number"><a href="#page133">133</a></td>
+</tr>
+<tr>
+<td><p>
+Water, method of carrying, at Walpi</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>
+Water family, last to settle at Tusayan</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset">
+migration legend of</td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td><p>
+Water jars used in chimney construction</p></td>
+<td class="number"><a href="#page180">180</a></td>
+</tr>
+<tr>
+<td>Water supply, Cibola</td>
+<td class="number"><a href="#page080">80</a></td>
+</tr>
+<tr>
+<td class="inset">
+Ketchipauan</td>
+<td class="number"><a href="#page082">82</a>, <a href="#page083">83</a></td>
+</tr>
+<tr>
+<td class="inset">
+Tâaaiyalana dwellings</td>
+<td class="number"><a href="#page090">90</a>, <a href="#page091">91</a></td>
+</tr>
+<tr>
+<td class="inset">
+Kin-tiel</td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+Zuñi</td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td>Water vessels, forms of</td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td><p>
+Wattling or lathing of kiva walls</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td>Weaving appliances</td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td>Wejegi pueblo, loop-holes in</td>
+<td class="number"><a href="#page198">198</a></td>
+</tr>
+<tr>
+<td>Well or reservoir of Zuñi</td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td><p>
+Whitewash on outer walls of Shumopavi</p></td>
+<td class="number"><a href="#page073">73</a>-<a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+on Mashongnavi room</td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+how made and applied in Zuñi</p></td>
+<td class="number"><a href="#page145">145</a></td>
+</tr>
+<tr>
+<td class="inset">
+on house walls</td>
+<td class="number"><a href="#page145">145</a></td>
+</tr>
+<tr>
+<td class="inset">
+used for coating doors</td>
+<td class="number"><a href="#page186">186</a></td>
+</tr>
+<tr>
+<td><p>
+Wíksrun people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>
+Willow wands used in roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>
+Window, doorway and chimney in one</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>
+Windows of various kinds described</p></td>
+<td class="number"><a href="#page194">194</a>, <a href="#page201">201</a></td>
+</tr>
+<tr>
+<td><p>
+Wings constructed in court of Pueblo Bonito</p></td>
+<td class="number"><a href="#page070">70</a></td>
+</tr>
+<tr>
+<td><p>
+Women, house owners at Tusayan</p></td>
+<td class="number"><a href="#page101">101</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+work of, in Tusayan house-building</p></td>
+<td class="number"><a href="#page101">101</a>, <a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+roof-building performed by</td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+work of, in kiva-building</td>
+<td class="number"><a href="#page129">129</a></td>
+</tr>
+<tr>
+<td class="inset">
+when admitted to kivas</td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+societies of, and kivas for, in Tusayan</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td><p>
+Wood, kinds of, used in Tusayan construction</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>
+Wood rack of pueblos described</p></td>
+<td class="number"><a href="#page103">103</a></td>
+</tr>
+<tr>
+<td>Wood-working, how performed</td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>
+Wooden doors not found in pre-Columbian ruins</p></td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>
+Wooden features of pueblo windows</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td><p>
+Woolen mill established by Mormons at Moen-kopi</p></td>
+<td class="number"><a href="#page078">78</a></td>
+</tr>
+<tr>
+<td><p>
+Workshop, use of the kiva, as a</p></td>
+<td class="number"><a href="#page129">129</a>, <a href="#page133">133</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">Y</td>
+</tr>
+<tr>
+<td><p>
+Yeso used for interior whitewash</p></td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td>Yucca, use of, in lathing</td>
+<td class="number"><a href="#page127">127</a></td>
+</tr>
+<tr>
+<td><p>
+Yucca fiber sandals from Canyon de Chelly</p></td>
+<td class="number"><a href="#page133">133</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">Z</td>
+</tr>
+<tr>
+<td>Zuñi, survey of pueblo of</td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+arrival of the Asanyumu at</td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+portion of site of, formerly occupied by Halona</p></td>
+<td class="number"><a href="#page088">88</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+tradition as to occupancy of Kin-tiel by the</p></td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset"><p>
+plans and descriptions of villages of</p></td>
+<td class="number"><a href="#page094">94</a>-<a href="#page099">99</a></td>
+</tr>
+<tr>
+<td class="inset">
+description of pueblo of</td>
+<td class="number"><a href="#page097">97</a>-<a href="#page099">99</a></td>
+</tr>
+<tr>
+<td class="inset">
+See Cibola.</td>
+<td></td>
+</tr>
+</table>
+
+<div class="mynote">
+<h4><a name="nichols" id="nichols">
+Transcriber’s Notes on the Illustrations</a></h4>
+
+<p>Bureau of Ethnology articles rarely included artist credits, but some
+of the drawings are signed:</p>
+
+<p class="illustration">
+<img src="images/signatures.gif" width="308" height="189"
+alt="artist’s signatures"
+title="artist’s signatures" />
+</p>
+
+<p>Henry Hobart Nichols (1869-1962) was one of the Smithsonian’s stable
+of artists. These drawings would have been some of his earliest work.
+The “fil.” in one signature distinguishes him from his father, the
+engraver H.&nbsp;Hobart Nichols (1838-1886), whose signature also
+appears in at least one Bureau of Ethnology publication.</p>
+
+</div>
+
+<div class="mynote">
+
+<p>This paper is also available in free-standing form from Project
+Gutenberg as e-text 19331. The files are identical except that in the
+present text a few more typographical errors have been corrected, and
+some illustrations have been replaced.</p>
+
+<p>The spellings “turquois” and “turquoise” are used
+interchangeably.</p>
+
+<p>The middle sections of Plates CXXI - CXXIII (sand paintings) were
+missing. Each has been reconstructed from other sources.</p>
+</div>
+
+<p>
+<a name="page229" id="page229"> </a>
+</p>
+
+<hr class="mid" />
+
+<h3>CEREMONIAL OF HASJELTI DAILJIS</h3>
+
+<h6>AND</h6>
+
+<h3>MYTHICAL SAND PAINTING<br/>
+OF THE NAVAJO INDIANS</h3>
+
+<h6>BY</h6>
+
+<h5>JAMES STEVENSON</h5>
+
+<hr class="mid" />
+
+<p>
+<a name="page230" id="page230"> </a>
+<a name="page231" id="page231"> </a>
+</p>
+
+<h4>CONTENTS.</h4>
+
+<hr class="tiny" />
+
+<table class="toc" summary="table of contents">
+<tr>
+<td></td>
+<td class="number">Page.</td>
+</tr>
+<tr>
+<td><a href="#intro2">
+Introduction</a></td>
+<td class="number">235</td>
+</tr>
+<tr>
+<td><a href="#const">
+Construction of the Medicine Lodge</a></td>
+<td class="number">237</td>
+</tr>
+<tr>
+<td><a href="#day1">
+First day</a></td>
+<td class="number">237</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day1_person">
+Personators of the gods</a></td>
+<td class="number">237</td>
+</tr>
+<tr>
+<td><a href="#day2">
+Second day</a></td>
+<td class="number">239</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day2_desc">
+Description of the sweat houses</a></td>
+<td class="number">239</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day2_masks">
+Sweat houses and masks</a></td>
+<td class="number">242</td>
+</tr>
+<tr>
+<td class="inset"><p><a href="#day2_reeds">
+Preparation of the sacred reeds (cigarettes) and prayer-sticks</a></p>
+</td>
+<td class="number">242</td>
+</tr>
+<tr>
+<td>
+<a href="#day3">
+Third day</a></td>
+<td class="number">244</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day3_first">
+First ceremony</a></td>
+<td class="number">244</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day3_second">
+Second ceremony</a></td>
+<td class="number">245</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day3_third">
+Third ceremony</a></td>
+<td class="number">247</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day3_fourth">
+Fourth ceremony (night)</a></td>
+<td class="number">248</td>
+</tr>
+<tr>
+<td><a href="#day4">
+Fourth day</a></td>
+<td class="number">249</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day4_first">
+First ceremony</a></td>
+<td class="number">249</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day4_second">
+Second ceremony</a></td>
+<td class="number">250</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day4_third">
+Third ceremony</a></td>
+<td class="number">250</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day4_fourth">
+Fourth ceremony</a></td>
+<td class="number">252</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day4_fifth">
+Fifth ceremony</a></td>
+<td class="number">253</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day4_sixth">
+Sixth ceremony</a></td>
+<td class="number">253</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day4_foods">
+Foods brought into the lodge</a></td>
+<td class="number">256</td>
+</tr>
+<tr>
+<td><a href="#day5">
+Fifth day</a></td>
+<td class="number">257</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day5_first">
+First ceremony</a></td>
+<td class="number">257</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day5_second">
+Second ceremony</a></td>
+<td class="number">259</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day5_third">
+Third ceremony</a></td>
+<td class="number">260</td>
+</tr>
+<tr>
+<td><a href="#day6">
+Sixth day</a></td>
+<td class="number">261</td>
+</tr>
+<tr>
+<td><a href="#day7">
+Seventh day</a></td>
+<td class="number">263</td>
+</tr>
+<tr>
+<td><a href="#day8">
+Eighth day</a></td>
+<td class="number">265</td>
+</tr>
+<tr>
+<td><a href="#day9">
+Ninth day</a></td>
+<td class="number">269</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day9_first">
+First ceremony</a></td>
+<td class="number">269</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day9_second">
+Second ceremony</a></td>
+<td class="number">270</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#day9_second_song">
+Song of the Etsethle</a></td>
+<td class="number">272</td>
+</tr>
+<tr>
+<td class="inset2"><a href="#day9_second_prayer">
+Prayer to the Etsethle</a></td>
+<td class="number">272</td>
+</tr>
+<tr>
+<td class="inset"><a href="#day9_concl">
+Conclusion&mdash;the dance</a></td>
+<td class="number">273</td>
+</tr>
+<tr>
+<td><a href="#myths">
+Myths of the Navajo</a></td>
+<td class="number">275</td>
+</tr>
+<tr>
+<td class="inset"><a href="#myths_creation">
+Creation of the sun</a></td>
+<td class="number">275</td>
+</tr>
+<tr>
+<td class="inset"><a href="#myths_hasj">
+Hasjelti and Hostjoghon</a></td>
+<td class="number">277</td>
+</tr>
+<tr>
+<td class="inset"><a href="#myths_logs">
+The floating logs</a></td>
+<td class="number">278</td>
+</tr>
+<tr>
+<td class="inset"><a href="#myths_naiyen">
+Naiyenesgony and Tobaidischinni</a></td>
+<td class="number">279</td>
+</tr>
+<tr>
+<td class="inset"><a href="#myths_brothers">
+The brothers</a></td>
+<td class="number">280</td>
+</tr>
+<tr>
+<td class="inset"><p><a href="#myths_firstworld">
+The old man and woman of the first world</a></p></td>
+<td class="number">284</td>
+</tr>
+<tr>
+<td class="sans"><a href="#notesb">
+Footnotes</a></td>
+<td></td>
+</tr>
+<tr>
+<td class="sans"><a href="#indexb">
+Index</a></td>
+<td></td>
+</tr>
+</table>
+
+<p>
+<a name="page232" id="page232"> </a>
+</p>
+
+<p>
+<a name="page233" id="page233"> </a>
+</p>
+
+<h4 class="chapter">ILLUSTRATIONS.</h4>
+
+<hr class="tiny" />
+
+<div class="mynote">
+
+<p>All Plates are shown as thumbnails linked to larger versions.</p>
+
+</div>
+
+<table class="toc" summary="list of Plates">
+<tr>
+<td class="item smallcaps"><a href="#plateCXII">
+Plate&nbsp;CXII.</a></td>
+<td><p>A, Rainbow over eastern sweat house; B,&nbsp;Rainbow over western
+sweat house</p></td>
+<td class="number">240</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXIII">
+CXIII.</a></td>
+<td><p>Blanket rug and medicine tubes</p></td>
+<td class="number">242</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXIV">
+CXIV.</a></td>
+<td><p>Blanket rug and medicine tubes</p></td>
+<td class="number">244</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXV">
+CXV.</a></td>
+<td><p>Masks: 1, Naiyenesyong; 2,&nbsp;3, Tobaidischinne; 4,&nbsp;5,
+Hasjelti; 6,&nbsp;Hostjoghon; 7,&nbsp;Hostjobokon;
+8,&nbsp;Hostjoboard</p></td>
+<td class="number">246</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXVI">
+CXVI.</a></td>
+<td><p>Blanket rug and medicine tubes</p></td>
+<td class="number">248</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXVII">
+CXVII.</a></td>
+<td><p>1, Pine boughs on sand bed; 2,&nbsp;Apache basket containing
+yucca suds lined with corn pollen; 3,&nbsp;Basket of water surface
+covered with pine needles</p></td>
+<td class="number">250</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXVIII">
+CXVIII.</a></td>
+<td><p>Blanket rug and medicine tubes and sticks</p></td>
+<td class="number">252</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXIX">
+CXIX.</a></td>
+<td><p>Blanket rug and medicine tube</p></td>
+<td class="number">258</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXX">
+CXX.</a></td>
+<td><p>First sand painting</p></td>
+<td class="number">260</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXXI">
+CXXI.</a></td>
+<td><p>Second sand painting</p></td>
+<td class="number">262</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXXII">
+CXXII.</a></td>
+<td><p>Third sand painting</p></td>
+<td class="number">264</td>
+</tr>
+<tr>
+<td class="item"><a href="#plateCXXIII">
+CXXIII.</a></td>
+<td><p>Fourth sand painting</p></td>
+<td class="number">266</td>
+</tr>
+</table>
+
+<table class="toc" summary="list of Figures">
+<tr>
+<td class="item smallcaps narrow"><a href="#fig115">
+Fig.&nbsp;115.</a></td>
+<td><p>Exterior lodge</p></td>
+<td class="number">236</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig116">
+116.</a></td>
+<td><p>Interior lodge</p></td>
+<td class="number">237</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig117">
+117.</a></td>
+<td><p>Gaming ring</p></td>
+<td class="number">238</td>
+</tr>
+<tr>
+<td class="item"><a href="#fig118">
+118.</a></td>
+<td><p>Sweat house</p></td>
+<td class="number">240</td>
+</tr>
+</table>
+
+<p>
+<a name="page234" id="page234"> </a>
+<a name="page235" id="page235"> </a>
+</p>
+
+<h3 class="chapter">CEREMONIAL OF HASJELTI DAILJIS<br/>
+AND MYTHICAL SAND PAINTING<br/>
+OF THE NAVAJO INDIANS.</h3>
+
+<hr class="tiny" />
+
+<h4 class="smallcaps">By James Stevenson.</h4>
+
+<hr class="tiny" />
+
+<h4 class="extended"><a name="intro2" id="intro2">
+INTRODUCTION.</a></h4>
+
+
+<p>During my visit to the Southwest, in the summer of 1885, it was my
+good fortune to arrive at the Navajo Reservation a few days before the
+commencement of a Navajo healing ceremonial. Learning of the preparation
+for this, I&nbsp;decided to remain and observe the ceremony, which was
+to continue nine days and nights. The occasion drew to the place some
+1,200 Navajos. The scene of the assemblage was an extensive plateau near
+the margin of Keam’s Canyon, Arizona.</p>
+
+<p>A variety of singular and interesting occurrences attended this great
+event&mdash;mythologic rites, gambling, horse and foot racing, general
+merriment, and curing the sick, the latter being the prime cause of the
+gathering. A&nbsp;man of distinction in the tribe was threatened with
+loss of vision from inflammation of the eyes, having looked upon certain
+masks with an irreligious heart. He was rich and had many wealthy
+relations, hence the elaborateness of the ceremony of healing.
+A&nbsp;celebrated theurgist was solicited to officiate, but much anxiety
+was felt when it was learned that his wife was pregnant.
+A&nbsp;superstition prevails among the Navajo that a man must not look
+upon a sand painting when his wife is in a state of gestation, as it
+would result in the loss of the life of the child. This medicine man,
+however, came, feeling that he possessed ample power within himself to
+avert such calamity by administering to the child immediately after its
+birth a mixture in water of all the sands used in the painting. As I
+have given but little time to the study of Navajo mythology, I&nbsp;can
+but briefly mention such events as I witnessed, and record the myths
+only so far as I was able to collect them hastily. I&nbsp;will first
+describe the ceremony of Yebitchai and give then the myths (some
+complete and others incomplete) explanatory of the gods and genii
+figuring in the Hasjelti Dailjis (dance of Hasjelti) and in the nine
+days’ ceremonial, and then others independent of these. The ceremony is
+familiarly called among the tribe, “Yebitchai,” the word
+<a name="page236" id="page236"> </a>
+meaning the giant’s uncle. The name was originally given to the
+ceremonial to awe the children who, on the eighth day of the ceremony,
+are initiated into some of its mysteries and then for the first time are
+informed that the characters appearing in the ceremony are not real
+gods, but only their representatives. There is good reason for believing
+that their ideas in regard to the sand paintings were obtained from the
+Pueblo tribes, who in the past had elaborated sand paintings and whose
+work at present in connection with most of their medicine ceremonies is
+of no mean order. The Mission Indians of southern California also regard
+sand paintings as among the important features in their medicine
+practices. While the figures of the mythical beings represented by the
+Navajo are no doubt of their own conception, yet I discovered that all
+their medicine tubes and offerings were similar to those in use by the
+Zuñi. Their presence among the Navajo can be readily explained by the
+well known fact that it was the custom among Indians of different tribes
+to barter and exchange medicine songs, ceremonies, and the paraphernalia
+accompanying them. The Zuñi and Tusayan claim that the Navajo obtained
+the secrets of the Pueblo medicine by intruding upon their ceremonials
+or capturing a pueblo, and that they appropriated whatever suited their
+fancy.</p>
+
+<p class="illustration">
+<a name="fig115" id="fig115"> </a>
+<img src="images/fig115.png" width="335" height="104"
+alt="lodge" title="lodge" />
+</p>
+
+<p class="caption"><span class="smallcaps">Fig. 115.</span>
+Exterior lodge.</p>
+
+<p>My explanation of the ceremonial described is by authority of the
+priest doctor who managed the whole affair and who remained with me five
+days after the ceremonial for this special purpose. Much persuasion was
+required to induce him to stay, though he was most anxious that we
+should make no mistake. He said:</p>
+
+<blockquote>
+<p>
+My wife may suffer and I should be near her; a&nbsp;father’s eyes
+should be the first to look upon his child; it is like sunshine in
+the father’s heart; the father also watches his little one to see
+the first signs of understanding, and observes the first steps of
+his child, that too is a bright light in the father’s heart, but
+when the little one falls, it strikes the father’s heart hard.
+</p>
+</blockquote>
+
+<p>The features of this ceremonial which most surprise the white
+spectator are its great elaborateness, the number of its participants
+and its prolongation through many days for the purpose of restoring
+health to a single member of the tribe.</p>
+
+<p>
+<a name="page237" id="page237"> </a>
+</p>
+
+<h4 class="chapter"><a name="const" id="const">
+CONSTRUCTION OF THE MEDICINE LODGE.</a></h4>
+
+
+<p>A rectangular parallelogram was marked off on the ground, and at each
+corner was firmly planted a forked post extending 10 feet above the
+surface, and on these were laid 4 horizontal beams, against which rested
+poles thickly set at an angle of about 20°, while other poles were
+placed horizontally across the beams forming a support for the covering.
+The poles around the sides were planted more in an oval than a circle
+and formed an interior space of about 35 by 30 feet in diameter. On the
+east side of the lodge was an entrance supported by stakes and closed
+with a buffalo robe, and the whole structure was then thickly covered
+first with boughs, then with sand, giving it the appearance of a small
+earth mound.</p>
+
+<p class="illustration">
+<a name="fig116" id="fig116"> </a>
+<img src="images/fig116.png" width="332" height="221"
+alt="lodge" title="lodge" />
+</p>
+
+<p class="caption"><span class="smallcaps">Fig. 116.</span>
+Interior lodge.</p>
+
+<h4 class="chapter"><a name="day1" id="day1">FIRST DAY.</a></h4>
+
+<h5 class="section"><a name="day1_person" id="day1_person">
+PERSONATORS OF THE GODS.</a></h5>
+
+<p>The theurgist or song-priest arrived at noon on the 12th of October,
+1885. Almost immediately after his arrival we boldly entered the
+medicine lodge, accompanied by our interpreter, Navajo John, and pleaded
+our cause. The stipulation of the medicine man was that we should make
+no mistakes and thereby offend the gods, and to avoid mistakes we must
+hear all of his songs and see all of his medicines, and he at once
+ordered some youths to prepare a place for our tent near the lodge.
+During the afternoon of the 12th those who were to take part in the
+ceremonial received orders and instructions from the song-priest. One
+man went to collect twigs with which to make twelve rings, each 6
+<a name="page238" id="page238"> </a>
+inches in diameter. These rings represented gaming rings, which are not
+only used by the Navajo, but are thought highly of by the genii of the
+rocks. (See Fig. 117.)
+<span class="floatleft">
+<a name="fig117" id="fig117"> </a>
+<img src="images/fig117.png" width="151" height="170"
+alt="Gaming ring" title="Gaming ring" />
+<!--Fig. 117. Gaming ring.-->
+</span>
+Another man gathered willows with which to make the emblem of the
+concentration of the four winds. The square was made by dressed willows
+crossed and left projecting at the corners each one inch beyond the
+next. The corners were tied together with white cotton cord, and each
+corner was ornamented with the under tail feather of the eagle. These
+articles were laid in a niche behind the theurgist, whose permanent seat
+was on the west side of the lodge facing east. The night ceremony
+commenced shortly after dark. All those who were to participate were
+immediate friends and relatives of the invalid excepting the theurgist
+or song-priest, he being the only one who received direct compensation
+for his professional services. The cost of such a ceremony is no
+inconsiderable item. Not only the exorbitant fee of the theurgist must
+be paid, but the entire assemblage must be fed during the nine days’
+ceremonial at the expense of the invalid, assisted by his near
+relatives.</p>
+
+<p>A bright fire burned in the lodge, and shortly after dark the invalid
+appeared and sat upon a blanket, which was placed in front of the
+song-priest. Previously, however, three men had prepared themselves to
+personate the gods&mdash;Hasjelti, Hostjoghon, and Hostjobokon&mdash;and
+one to personate the goddess, Hostjoboard. They left the lodge, carrying
+their masks in their hands, went a short distance away and put on their
+masks. Then Hasjelti and Hostjoghon returned to the lodge, and Hasjelti,
+amid hoots, “hu-hoo-hu-huh!” placed the square which he carried over the
+invalid’s head, and Hostjoghon shook two eagle wands, one in each hand,
+on each side of the invalid’s head and body, then over his head,
+meanwhile hooting in his peculiar way, “hu-u-u-u-uh!” He then followed
+Hasjelti out of the lodge. The men representing Hostjobokon and
+Hostjoboard came in alternately. Hostjobokon took one of the rings which
+had been made during the afternoon, and now lay upon the blanket to the
+right of the invalid, and placed it against the soles of the feet of the
+invalid, who was sitting with knees drawn up, and then against his
+knees, palms, breast, each scapula, and top of his head; then over his
+mouth. While touching the different parts of the body the ring was held
+with both hands, but when placed to the mouth of the invalid it was
+taken in the left hand. The ring was made of a reed, the ends of which
+were secured by a long string wrapped over the ring like a slipnoose.
+When the ring was placed over the mouth of the invalid the string was
+pulled and the ring dropped and rolled out of the lodge, the long tail
+of white cotton yarn, with eagle plume attached to the end, extending
+far behind. Hostjoboard repeated this ceremony
+<a name="page239" id="page239"> </a>
+with a second ring, and so did Hostjobokon and Hostjoboard alternately,
+until the twelve rings were disposed of. Three of the rings were
+afterward taken to the east, three to the south, three to the west, and
+three to the north, and deposited at the base of piñon trees. The rings
+were placed over the invalid’s mouth to give him strength, cause him to
+talk with one tongue, and to have a good mind and heart. The other
+portions of the body were touched with them for physical benefit. When
+the rings had all been rolled out of the lodge Hasjelti entered,
+followed by Hostjoghon. He passed the square (the concentrated winds)
+four times over the head of the invalid during his hoots. Hostjoghon
+then waved his turkey wands about the head and body of the invalid, and
+the first day’s ceremony was at an end.</p>
+
+
+
+
+<h4 class="chapter"><a name="day2" id="day2">
+SECOND DAY.</a></h4>
+
+
+<h5 class="section"><a name="day2_desc" id="day2_desc">
+DESCRIPTION OF THE SWEAT HOUSES.</a></h5>
+
+<p>The construction of the first sweat house, or tachi, was begun at
+dawn. Four of these houses were built on four consecutive mornings, each
+one located about 400 feet distant from the great central medicine
+lodge, toward the four cardinal points, and all facing to the east. The
+first one built was east of the lodge. A&nbsp;description of the
+construction of this particular one will answer for all, but the
+ceremonies differ in detail.</p>
+
+<p>Four upright poles, forked at the upper ends, were placed at the four
+cardinal points within an area designated as the base of the house, the
+forked ends resting against each other, a&nbsp;circular excavation some
+6 feet in diameter and 1 foot in depth having first been made. Between
+the uprights smaller poles were laid; on the poles piñon boughs, sage
+and <i>Bigelovia Douglasii</i> (a&nbsp;kind of sage brush) were placed
+as a thatch; all being laid sufficiently compact to prevent the sand
+placed over the top from sifting through. The doorway, on the east side
+of the house, was about 2½ feet high and 20 inches wide. Highly polished
+sticks (the same as those employed in blanket weaving) were used to
+render the sand covering of the structure smooth. The sweat houses to
+the east and west had the rainbow painted over them. Those to the north
+and south were devoid of such decoration, because the song priest seldom
+completes his medicine in one ceremonial; and he chose to omit the songs
+which would be required if the bow ornamented the north and south sweat
+houses. Under the direction of the priest of the sweat house, who
+received instruction from the song priest, three young men painted the
+rainbow, one the head and body, another the skirt and legs, while the
+third painted the bow. The head of this goddess was to the north, the
+bow extending over the structure. The colors used were made from ground
+pigments sprinkled on with the thumb and forefinger. Whenever a pinch of
+the dry paint was taken from the pieces of bark which served as paint
+cups, the artist breathed upon the hand before
+<a name="page240" id="page240"> </a>
+sprinkling the paint. This, however, had no religious significance, but
+was merely to clear the finger and thumb of any superfluous sand. The
+colors used in decoration were yellow, red, and white from sandstones,
+black from charcoal, and a grayish blue, formed of white sand and
+charcoal, with a very small quantity of yellow and red sands. (See Fig.
+118.) The decorators were carefully watched by the song priest.</p>
+
+<p class="illustration">
+<a name="fig118" id="fig118"> </a>
+<img src="images/fig118.png" width="338" height="216"
+alt="sweat house" title="sweat house" />
+</p>
+
+<p class="caption"><span class="smallcaps">Fig. 118.</span>
+Sweat house.</p>
+
+<p>Upon the completion of the rainbow the song priest returned to the
+medicine lodge, but soon reappeared bearing a basket of twelve turkey
+wands, and these he planted around the base of the sweat house on a line
+of meal he had previously sprinkled. There was a fire some 20 feet from
+the house, in which stones were heated. These stones were placed in the
+sweat house on the south side, and upon them was thrown an armful of
+white sage and <i>Bigelovia Douglasii</i>. A&nbsp;few pine boughs were
+laid by the side of the stones for the invalid to sit upon. The entrance
+to the sweat house was then covered with a black and white striped
+blanket upon which were placed two large Coçonino buckskins one upon the
+other, and upon them a double piece of white cotton. The buckskins
+represented daylight, or the twilight that comes just at the dawn of
+day. The invalid for whom this ceremony was held took off all his
+clothing except the breech cloth, and sat on the outside by the entrance
+of the sweat house amid the din of rattle and song, the theurgist being
+the only one who had a rattle. The invalid propelled himself into the
+house feet foremost, the covering of the sweat house having been raised
+for this purpose. After entering it, he rid himself of his breechcloth
+and the coverings were immediately dropped. The song continued 5
+minutes, when all stopped for a moment and then recommenced.</p>
+
+<p class="illustration">
+<a name="plateCXII" id="plateCXII"> </a>
+<img src="images/plate112thumb.jpg"
+width="187" height="301" alt="rainbow" title="rainbow" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXII.</span>
+RAINBOW OVER SWEAT HOUSE.<br/>
+<a href="images/plate112large.jpg">Larger
+View</a></p>
+
+<p>
+<a name="page241" id="page241"> </a>
+During the song the theurgist mixed various herbs in a gourd over which
+he poured water. After chanting some twenty minutes he advanced to the
+entrance of the house, taking the medicine gourd with him, and, after
+pouring some of its contents on the heated stones, took his seat and
+joined in the chanting. After another twenty minutes Hasjelti and
+Hostjoghon appeared. A&nbsp;Navajo blanket had previously been placed on
+the ground at the south side of the entrance. Hasjelti lifted the
+coverings from the entrance, and the patient, having first donned his
+breech cloth, came out and sat on the blanket. Hasjelti rubbed the
+invalid with the horn of a mountain sheep held in the left hand, and in
+the right hand a piece of hide, about 10 inches long and 4 wide, from
+between the eyes of the sheep. The hide was held flatly against the palm
+of the hand, and in this way the god rubbed the breast of the invalid,
+while he rubbed his back with the horn, occasionally alternating his
+hands. Hostjoghon put the invalid through the same manipulation. The
+gods then gave him drink four times from the gourd containing medicine
+water composed of finely-chopped herbs and water, they having first
+taken a draught of the mixture. The soles of the feet, palms, breast,
+back, shoulders, and top of the head of the invalid were touched with
+medicine water, and the gods suddenly disappeared. The patient arose and
+bathed himself with the remainder of the medicine water and put on his
+clothing. The coverings of the entrance, which were gifts to the song
+priest from the invalid, were gathered together by the song priest and
+carried by an attendant to the medicine lodge. An attendant erased the
+rainbow by sweeping his hand from the feet to the head, drawing the
+sands with him, which were gathered into a blanket and carried to the
+north and deposited at the base of a piñon tree. The song priest placed
+the wands in a basket, and thus, preceded by the invalid, carried them
+in both hands to the medicine lodge singing a low chant. The sweat house
+was not carelessly torn down, but was taken down after a prescribed
+form. Four men commenced at the sides toward the cardinal points, and
+with both hands scraped the sand from the boughs. When this was all
+removed the boughs were carefully gathered and conveyed to a piñon tree
+some 50 feet distant and fastened horizontally in its branches about 2
+feet above the ground. The heated stones from the interior of the sweat
+house were laid on the boughs; the upright logs which formed the frame
+work of the house were carried to a piñon tree, a&nbsp;few feet from the
+tree in which the boughs and heated stones were placed, and arranged
+crosswise in the tree, and on these logs corn meal was sprinkled and on
+the meal a medicine tube (cigarette) was deposited. The tube was about 2
+inches long and one third of an inch in diameter, and it contained a
+ball composed of down from several varieties of small birds, sacred
+tobacco, and corn pollen. It was an offering to Hasjelti. Meal was
+sprinkled on the tube. The ground on which the house had stood was
+smoothed over, the ashes from the fire carefully swept away, and thus
+all traces of the ceremony
+<a name="page242" id="page242"> </a>
+were removed. The invalid upon entering the lodge took his seat on the
+west side facing east. The song priest continued his chant. He took from
+the meal bag some sacred meal and placed it to the soles of the feet of
+the invalid and on his palms, knees, breast, back, shoulders, and head.
+At the conclusion of this ceremony all indulged in a rest for an hour or
+more. The bark cups which contained the colored sands for decorating
+were placed in the medicine lodge north of the door.</p>
+
+
+<h5 class="section"><a name="day2_masks" id="day2_masks">
+SWEAT HOUSES AND MASKS.</a></h5>
+
+<p>The deer skins which hang over the entrance of the sweat houses
+(a&nbsp;different skin being used for each sweat house) must be from
+animals which have been killed by being smothered. The deer is run down
+and secured by ropes or otherwise. Corn pollen is then put into the
+mouth of the deer and the hands are held over the mouth and nostrils
+until life is extinct. The animal now being placed upon his back,
+a&nbsp;line is drawn with corn pollen, over the mouth, down the breast
+and belly to the tail. The line is then drawn from the right hoof to the
+right foreleg to the breast line. The same is done on the left fore leg
+and the two hind legs. The knife is then passed over this line and the
+deer is flayed. Skins procured in this way are worth, among the Navajo,
+$50 each. Masks are made of skins prepared in the same manner. If made
+of skins of deer that have been shot the wearer would die of fever.</p>
+
+<p>Buckskin over the entrance to an eastern sweat house denotes dawn;
+over a southern, denotes red of morning; over a western, sunset; over a
+northern, night.</p>
+
+
+<h5 class="section"><a name="day2_reeds" id="day2_reeds">
+PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.</a></h5>
+
+<p>Before noon two sheepskins were spread one upon the other before the
+song-priest. Upon these was laid a blanket, and on the blanket pieces of
+cotton. These rugs extended north and south. The theurgist then produced
+a large medicine bag, from which a reed was selected. The reed was
+rubbed with a polishing stone, or, more accurately speaking, the
+polishing stone was rubbed with the reed, as the reed was held in the
+right hand and rubbed against the stone, which was held in the left. It
+was then rubbed with finely broken native tobacco, and afterwards was
+divided into four pieces, the length of each piece being equal to the
+width of the first three fingers. The reeds were cut with a stone knife
+some 3½ inches long. An attendant then colored the tubes. The first reed
+was painted blue, the second black, the third blue, and the fourth
+black. Through all these, slender sticks of yucca had been run to serve
+as handles while painting the tubes and also to support the tubes while
+the paint was drying. The attendant who cut the reeds sat left of the
+song-priest, facing east; a&nbsp;stone containing the paints was placed
+to the north of the rug; and upon the end of the stone next to
+<a name="page243" id="page243"> </a>
+himself the reed-cutter deposited a bit of finely broken tobacco. In
+cutting the reeds occasionally a bit splintered off; these scraps were
+placed by the side of the tobacco on the northeast end of the rug.</p>
+
+<p class="illustration">
+<a name="plateCXIII" id="plateCXIII"> </a>
+<img src="images/plate113thumb.jpg"
+width="225" height="355" alt="rug and tubes"
+title="rug and tubes" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXIII.</span>
+BLANKET RUG AND MEDICINE TUBES.<br/>
+<a href="images/plate113large.jpg">Larger
+View</a></p>
+
+<p>The attendant who colored the reeds sat facing west; and as each reed
+was colored it was placed on the rug, the yucca end being laid on a
+slender stick which ran horizontally. The first reed painted was laid to
+the north. Three dots were put upon each blue reed to represent eyes and
+mouth; two lines encircled the black reeds. Four bits of soiled cotton
+cloth were deposited in line on the east of the rug. The three
+attendants under the direction of the song-priest took from the medicine
+bag, first two feathers from the Arctic blue bird (<i>Sialia
+arctica</i>), which he placed west of the bit of cloth that lay at the
+north end of the rug; he placed two more of the same feathers below the
+second piece of cloth; two under the third, and two below the fourth,
+their tips pointing east. Then upon each of these feathers he placed an
+under tail-feather of the eagle. The first one was laid on the two
+feathers at the north end of the rug; again an under tail-feather of the
+turkey was placed on each pile, beginning with that of the north. Then
+upon each of these was placed a hair from the beard of the turkey, and
+to each was added a thread of cotton yarn. During the arrangement of the
+feathers the tube decorator first selected four bits of black archaic
+beads, placing a piece on each bit of cloth; then four tiny pieces of
+white shell beads were laid on the cloths; next four pieces of abalone
+shell and four pieces of turquois.</p>
+
+<p>In placing the beads he also began at the north end of the rug. An
+aged attendant, under the direction of the song-priest, plucked downy
+feathers from several humming-birds and mixed them together into four
+little balls one-fourth of an inch in diameter and placed them in line
+running north and south, and south of the line of plume piles. He
+sprinkled a bit of corn pollen upon each ball; he then placed what the
+Navajo term a night-owl feather under the balls with its tip pointing to
+the northeast. (See <a href="#plateCXIII">Pl. <span class="smallroman">CXIII</span></a>). The young man facing west then filled
+the colored reeds, beginning with the one on the north end. He put into
+the hollow reed, first, one of the feather balls, forcing it into the
+reed with the quill end of the night-owl feather. (A&nbsp;night-owl
+feather is always used for filling the reeds after the corn is ripe to
+insure a warm winter; in the spring a plume from the chaparral cock,
+<i>Geococcyx californianus</i>, is used instead to bring rain). Then a
+bit of native tobacco was put in. When the reed was thus far completed
+it was passed to the decorator, who had before him a tiny earthen bowl
+of water, a&nbsp;crystal, and a small pouch of corn pollen. Holding the
+crystal in the sunbeam which penetrated through the fire opening in the
+roof, he thus lighted the cigarettes which were to be offered to the
+gods. The forefinger was dipped into the bowl of water and then into the
+corn pollen, and the pollen that adhered to the finger was placed to the
+top of the tube. After the four tubes were finished they were placed on
+the
+<a name="page244" id="page244"> </a>
+pieces of cloth, not, however, until a bit of pollen had been sprinkled
+on the beads which lay on the cloth. The pollen end of the tube pointed
+to the east. The four bunches of feathers were then laid on the tubes.
+The song-priest rolled up each cloth and holding the four parcels with
+both hands he placed them horizontally across the soles of the feet,
+knees, palms, breast, back, shoulders, head, and across the mouth of the
+invalid, and the invalid drew a breath as the parcel touched his lips.
+He sat to the north of the rug facing east. The sick man then received
+the parcels from the song-priest and held them so that the ends
+projected from between the thumbs and forefingers, and repeated a prayer
+after the theurgist, who sat facing the invalid. The prayer ran
+thus:</p>
+
+<blockquote>
+<p>
+People of the mountains and rocks, I&nbsp;hear you wish to be paid.
+I&nbsp;give to you food of corn pollen and humming-bird feathers, and I
+send to you precious stones and tobacco which you must smoke; it
+has been lighted by the sun’s rays and for this I beg you to give
+me a good dance; be with me. Earth, I&nbsp;beg you to give me a good
+dance, and I offer to you food of humming-birds’ plumes and
+precious stones, and tobacco to smoke lighted by the sun’s rays,
+to pay for using you for the dance; make a good solid ground for
+me, that the gods who come to see the dance may be pleased at the
+ground their people dance upon; make my people healthy and strong
+of mind and body.
+</p>
+</blockquote>
+
+<p>The prayer being offered, the parcels were given by the theurgist to
+an attendant, who deposited them in line three feet apart along the side
+of the dancing ground in front of the lodge. Their proper place is
+immediately on the ground that is to be danced upon, but to prevent them
+from being trampled on they are laid to one side. The black tubes are
+offerings to the gods and the blue to the goddesses of the mountains and
+to the earth.</p>
+
+<p class="illustration">
+<a name="plateCXIV" id="plateCXIV"> </a>
+<img src="images/plate114thumb.jpg"
+width="226" height="356" alt="rug and tubes"
+title="rug and tubes" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXIV.</span>
+BLANKET RUG AND MEDICINE TUBES.<br/>
+<a href="images/plate114large.jpg">Larger
+View</a></p>
+
+
+
+
+<h4 class="chapter"><a name="day3" id="day3">
+THIRD DAY.</a></h4>
+
+
+<h5 class="section"><a name="day3_first" id="day3_first">
+FIRST CEREMONY.</a></h5>
+
+<p>The construction of the second sweat house began at sunrise and was
+completed at nine o’clock. Several large rocks were heated and placed in
+the sweat house and as before white sage and <i>Bigelovia Douglasii</i>
+were thrown in, the fumes of which were designed as medicine for the
+sick man. After the invalid entered the sweat house, buckskin blankets,
+etc., were drawn over the entrance. The song-priest, accompanied by two
+attendants, sat a little to the south. He sprinkled meal around the west
+base of the house and over the top from north to south and placed the
+wands around its base in the manner heretofore described (the twelve
+wands and medicine used were the special property of the theurgist). The
+song-priest holding the rattle joined the choir in a chant. To his right
+were two Navajo jugs filled with water and an Apache basket partly
+filled with corn meal. A&nbsp;bunch of buckskin bags, one of the small
+blue medicine tubes, a&nbsp;mountain sheep’s horn, and a piece of
+undressed hide lay on the meal. Near by was a gourd half filled with
+water in which meal was sprinkled; near this was a
+<a name="page245" id="page245"> </a>
+small earthenware vase containing water and finely chopped herbs. At the
+conclusion of the chant the song-priest passed his rattle to one of the
+choir and stirred the mixture in the bowl with his forefinger, and after
+a few remarks to the invalid, who was still in the sweat house, he threw
+some of the mixture in upon the hot rocks. This was repeated four times,
+when the song-priest returned to his former position. The sweat-house
+priest took from his shoulders a Navajo blanket and spread it near the
+door a little to the right. A&nbsp;call from one of the attendants was a
+signal for Hasjelti and Hostjoghon to appear. The two men personating
+these gods were behind a tree south of the sweat house, their bodies,
+arms, and legs painted white. Foxskins were attached pendent to the
+backs of their girdles. As the gods approached the sweat house, the
+patient came out and sat upon the blanket, and Hasjelti took a mountain
+sheep’s horn, in the right hand and the piece of hide in the other and
+rubbed the sick man, beginning with the limbs; as he rubbed down each
+limb, he threw his arms toward the eastern sky and cried “yo-yo!” He
+also rubbed the head and body, holding the hands on opposite sides of
+the body. After this rubbing, the sick man drank from the bowl of
+medicine-water, then arose and bathed himself with the same mixture, the
+filled gourds being handed to him four times by Hasjelti, each time
+accompanied with his peculiar hoot. Hostjoghon repeated the same
+ceremony over the invalid. There was a constant din of rattle and
+chanting, the gods disappeared, and immediately thereafter the theurgist
+gathered the twelve wands from the base of the sweat house. He removed
+the blue reed from the basket and laid it a little to the left of the
+priest of the sweat house, who in turn handed it to an attendant to be
+deposited with the wood of the sweat house in a neighboring tree. The
+invalid proceeded to the medicine lodge followed by the song-priest
+uttering a low chant. After entering the lodge the invalid took his seat
+on the west side; the song-priest, still standing, took from a small
+buckskin bag white powdered material which he rubbed on the soles of the
+feet, palms, knees, breast, shoulders, and head of the invalid; then
+taking a pinch of the same material he extended his hand first toward
+the east and then toward the heavens and the earth. After these
+attentions he took his accustomed seat in the lodge and joined in
+conversation with his attendants.</p>
+
+
+<h5 class="section"><a name="day3_second" id="day3_second">
+SECOND CEREMONY.</a></h5>
+
+<p>Two sheepskins, a blanket, and cotton cloth were spread one upon the
+other in front of the song-priest; and from the long reeds that had been
+first rubbed with a polishing stone, then with tobacco, were cut ten
+pieces an inch and a quarter long and two pieces 2 inches long. These
+were colored black and blue, one long piece and five small ones being
+black, the others blue. While these were being decorated the song-priest
+and choir sang “My fathers, see, we are getting ready! We do our work
+well, and you would better go into the house for we are to
+<a name="page246" id="page246"> </a>
+have rain! Now, mothers, send down rain upon us!” This song was
+constantly repeated.</p>
+
+<p>The tubes when completed were laid in position to form a dual person.
+The long black tube representing the body was first placed in position.
+The long blue tube was then laid by its side and south of it. The pollen
+end of the tubes pointed to the east. The right black leg was the next
+placed in position, then the right blue leg, the left black leg and left
+blue leg. The right black arm, then the right blue arm, the left black
+arm and the left blue arm, then the black head and the blue head. (See
+<a href="#plateCXV">Pl. <span class="smallroman">CXV</span></a>.)</p>
+
+<p>These tubes were filled with feathers, balls, and tobacco, and tipped
+with the corn pollen and lighted with the crystal, the black tubes being
+offerings to the gods, the blue to the goddesses. After they were
+completed they were placed in position by a second attendant; and while
+the tubes were being filled the song-priest and choir sang “See,
+fathers! We fill these with tobacco; it is good; smoke it!” A message
+was received from the fathers that they would smoke, and, puffing the
+smoke from their mouths, they would invoke the watering of the earth.
+They again sang “All you people who live in the rocks, all you who are
+born among the clouds, we wish you to help us; we give you these
+offerings that you may have food and a smoke! All women, you who live in
+the rocks, you who are born among the fog, I&nbsp;pray you come and help
+us; I&nbsp;want you to come and work over the sick; I&nbsp;offer to you
+food of humming-birds’ plumes, and tobacco to smoke!” Two bunches of
+feathers which had been placed to the east side of the rug pointing east
+were deposited in two corn husks, each husk containing bits of
+turquoise, black archaic beads, and abalone shell; corn pollen was
+sprinkled on these. The song-priest then placed the dual body in the
+husks thus: First, the black body was laid upon the husks to the north,
+and upon this a pinch of pollen was sprinkled; the blue body was placed
+in the other husks and pollen sprinkled upon it; then the two right legs
+(black and blue) were put into the corn husks with the black body; the
+two left legs were added to the same; the right and left arms and the
+two heads were placed in the husk with the blue body and corn pollen
+sprinkled upon them. The husks were closed and held by the song-priest
+to the soles of the feet, palms, knees, breast, shoulders, back, and top
+of head of the invalid, who repeated a long prayer after the theurgist,
+and the parcels were given to an attendant, who carried them some
+distance from the lodge to the north and placed them in a secluded shady
+spot upon the ground. Two bits of tobacco were laid upon the ground and
+upon these the body was placed, the figure in a recumbent position with
+the arms over the head. The invalid for whom this ceremony was held
+spared no expense in having the theurgist make the most elaborate
+explanation to his near relatives of the secrets of the medicine
+tubes.</p>
+
+<p class="illustration">
+<a name="plateCXV" id="plateCXV"> </a>
+<img src="images/plate115thumb.jpg"
+width="339" height="206" alt="masks" title="masks" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXV.</span>
+CEREMONIAL MASKS.<br/>
+<a href="images/plate115large.jpg">Larger
+View</a></p>
+
+<p>
+<a name="page247" id="page247"> </a>
+</p>
+
+<h5 class="section"><a name="day3_third" id="day3_third">
+THIRD CEREMONY.</a></h5>
+
+<p>The theurgist occupied his usual seat, surrounded by his corps of
+attendants. The man personating Naiyenesgony had his body and limbs
+painted black. The legs below the knee, the scapula, the breasts, and
+the arm above the elbow were painted white. His loins were covered with
+a fine red silk scarf, held by a silver belt; his blue knit stockings
+were tied with red garters below each knee, and quantities of coral,
+turquois, and white shell beads ornamented the neck. The man
+representing Tobaidischinni had his body colored reddish brown, with
+this figure (the scalp knot)
+<span class="floatright">
+<img src="images/cer_scalpknot.gif" width="16" height="40"
+alt="scalp knot" title="scalp knot" />
+</span>
+in white on the outside of each leg below the knee, on each arm below
+the shoulder, each scapula, and on each breast. This design represents
+the knot of hair cut from the heads of enemies, and the style is still
+in use by the Navajo. The man wore a red woolen scarf around the loins,
+caught on by a silver belt, and his neck was profusely ornamented with
+coral, turquois, and white beads.<a class="tag" name="tag1b" id="tag1b" href="#note1b">1</a> Naiyenesgony and Tobaidischinni left the
+lodge, carrying with them their masks. (See <a href="#plateCXV">Pl.
+<span class="smallroman">CXV</span></a>, 1, 2,&nbsp;3.) Bunches of
+pine boughs, which during the forenoon had been made into wreaths by
+joining pieces together with yucca in this fashion <img src="images/cer_pineboughs.gif" width="76" height="21"
+alt="pine boughs" title="pine boughs" />, <ins class="correction"
+title="text has drawing and comma after “were”">were laid</ins>
+across each end of the rug.<a class="tag" name="tagA" id="tagA"
+href="#noteA">A</a></p>
+
+<p>After the two men personating the gods left the lodge the invalid
+entered and took his seat on the rug with his back to the theurgist. Two
+attendants dressed him with the wreaths, beginning with the right ankle;
+a&nbsp;piece was then tied around the calf, thigh, waist, around the
+chest, right wrist, elbow, upper arm, throat, forehead, then around the
+upper left arm, elbow, wrist, thigh, left knee, calf, and ankle. Thus
+the man was literally obscured with a mass of pine. He sat in an upright
+position with the legs extended and arms falling by his sides.
+A&nbsp;chant was sung by the song priest, and in a few minutes
+Naiyenesgony and Tobaidischinni appeared. Naiyenesgony drew his stone
+knife in front of the invalid over the forehead to the feet, then down
+the right side and down the back and down the left side. He then began
+to remove the pine. As each wreath was taken off the clusters were
+partly separated with the stone knife. Tobaidischinni assisted
+Naiyenesgony by holding the wreaths while they were being cut.</p>
+
+<p>When all the evergreen had been removed the personators of the gods
+exclaimed, “Now, my people, we have killed all enemies!” and immediately
+left the lodge. The song priest placed a small wreath of the pine on the
+sick man’s head, and holding in his left hand a bunch of eagle plumes,
+and in his right hand a rattle, he sang the ten songs and prayers,
+assisted by the choir, that were given by Naiyenesgony and
+Tobaidischinni to the Navajo to bring health and good fortune.
+<a name="page248" id="page248"> </a>
+After the pine-bough wreaths had been separated the bits of
+yucca-strings were picked up by the attendant and handed to
+Naiyenesgony, who held them over the sick man’s head, after which the
+bits were again divided with the knife. After the ten songs and prayers
+had been chanted the invalid left the rug and sat a little to the
+northeast, of it, with his knees drawn up. The song priest placed two
+live coals in front of the invalid and sprinkled chopped herbs on the
+coals, the fumes of which the invalid inhaled. The pines were carried
+off and placed in the shade of a pine tree, that the disease might not
+leave the pine and return to the
+invalid.<a class="tag" name="tag2b" id="tag2b" href="#note2b">2</a></p>
+
+
+<h5 class="section"><a name="day3_fourth" id="day3_fourth">
+FOURTH CEREMONY.</a></h5>
+
+<p>The personators of Hasjelti and Hostjoghon adorned themselves for the
+ceremony. Hasjelti wore ordinary clothing and a red scarf, with a silver
+belt around the waist. Hostjoghon’s body was painted white, and he wore
+a red woolen scarf around the loins, caught on with a silver belt.
+A&nbsp;rug, composed of a blanket and a piece of white cotton, was
+spread in front of the song priest, and the masks of Hasjelti and
+Hostjoghon placed thereon. (See <a href="#plateCXV">Pl. <span class="smallroman">CXV</span></a>, 4, 5,&nbsp;6.)</p>
+
+<p>Upon the completion of the toilets of the personators of the gods
+they hurried from the lodge, bearing their masks with them, when an
+attendant made a cavity immediately in front of the rug 4 inches in
+diameter, and the song priest sprinkled a circle of meal around the
+cavity. The invalid entered the lodge and stood on the rug and removed
+all of his clothing except the breech cloth. He then took his seat
+facing east, with knees drawn up. A&nbsp;mask of the Hostjobokon, which
+had been laid upon the rug, was drawn over the invalid’s head. Hasjelti
+and Hostjoghon appeared at this juncture bearing a pine bough some 5
+feet in height. An attendant made gestures over the sick man, holding in
+his right hand a pinch of sacred meal, which was afterward placed in the
+cavity. Hasjelti waved the pine bough five times around the invalid and
+planted it in the cavity, where it was held in place by the gods. Then
+bending its top, the attendant attached it to the mask over the
+invalid’s head by a buckskin string which was fastened to the mask. The
+song priest and choir all the while sang a weird chant. The gods raised
+the bough, gave their peculiar hoots, and disappeared from the lodge,
+carrying with them the pine bough with the mask attached to it. In a few
+minutes they came back with the mask. After the chant the song-priest
+placed meal on the soles of the invalid’s feet, knees, palms, breast,
+back, shoulders, and head, and then put some in the cavity, after which
+the cavity was filled with earth. Two coals were laid in front of the
+invalid, and upon these the song priest placed finely broken herbs; an
+attendant sprinkled water on the herbs, and the invalid inhaled the
+fumes. The cotton cloth was
+<a name="page249" id="page249"> </a>
+removed from the blanket rug, and the invalid stepped upon the rug and
+put on his clothing. When the mask was removed from the invalid’s head
+it drew all fever with&nbsp;it.</p>
+
+<p class="illustration">
+<a name="plateCXVI" id="plateCXVI"> </a>
+<img src="images/plate116thumb.jpg"
+width="228" height="358" alt="rug and tubes"
+title="rug and tubes" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXVI.</span>
+BLANKET RUG AND MEDICINE TUBES.<br/>
+<a href="images/plate116large.jpg">Larger
+View</a></p>
+
+
+
+
+<h4 class="chapter"><a name="day4" id="day4">
+FOURTH DAY.</a></h4>
+
+
+<h5 class="section"><a name="day4_first" id="day4_first">
+FIRST CEREMONY.</a></h5>
+
+<p>The theurgist carried a bowl of water and pine needles, and an
+attendant bore a gourd of water, a&nbsp;small vase of powdered herbs,
+and an Apache basket containing corn meal, buckskin bags, horn of the
+mountain sheep and a piece of hide cut from between the eyes of the
+animal. The theurgist and attendant took seats to the right of the
+entrance of the sweat house west of the medicine lodge. This sweat house
+was decorated with the rainbow. Over the entrance were, first, two
+striped blankets, one upon the other, a&nbsp;buckskin, and a piece of
+white cotton. Hot stones, etc., having been previously placed in the
+sweat house, the sick man entered. The song-priest and four attendants
+sang, accompanied by the rattle. At the conclusion of the chant Hasjelti
+and Hostjoghon appeared as on the previous days. Hasjelti lifted the
+coverings from the entrance and the invalid came out and sat upon a
+blanket south of the entrance and bathed both his hands in the bowl
+containing the pine needles and water; he then drank of it and bathed
+his feet and legs to the thighs, his arms and shoulders, body and face
+and head, and then emptied the remainder over his back. Hasjelti
+manipulated the right leg with the sheep’s horn and hide, rubbing the
+upper part of the leg with the right hand, then the under part with the
+left; he then rubbed the sides of the leg in the same manner, each time
+giving a hoot; the arms, chest, head, and face were similarly
+manipulated. Hostjoghon repeated the hooting every time he changed the
+position of the hands. Hasjelti, taking the gourd containing the water
+and corn meal, gave four draughts of it to the invalid, hooting each
+time the bowl was put to the lips; Hostjoghon did the same. The song and
+rattle continued. Hasjelti, then put the powdered plants from the small
+vase to the soles of the feet, knees, palms, breast, back, shoulders,
+and top of the head of the invalid, hooting each time an application was
+made; this was repeated by Hostjoghon. The invalid took a sip from the
+bowl and rubbed the remainder over his body. The song-priest then
+removed the wands from the base of the sweat house and the coverings
+from the door; the pine boughs and hot stones were also removed and the
+invalid preceded the song-priest to the medicine lodge. All the wood of
+the sweat house was placed in a tree, excepting four small pieces, which
+were deposited, together with the pine boughs from the interior of the
+sweat house, in a semicircle formed by the rocks from the sweat house at
+the base of a piñon tree. A&nbsp;line of meal 2 inches in length running
+east and west was sprinkled on the apex of the semicircle, and upon this
+line the black tube was laid. A&nbsp;bit of meal
+<a name="page250" id="page250"> </a>
+was sprinkled on the tube and a quantity over the pine boughs of this
+small shrine. Before sprinkling the meal on the top of the medicine tube
+the attendant waved his hand in a circle from left to right, calling
+“hooshontko;” meaning: Widespread blessings that come not from spoken
+words, but come to all, that people may have the blessings of corn
+pollen, and that tongues may speak with the softness of corn pollen.</p>
+
+
+<h5 class="section"><a name="day4_second" id="day4_second">
+SECOND CEREMONY.</a></h5>
+
+<p>A rug was laid in front of the theurgist. Four medicine tubes were
+placed on the rug, the one to the north end being white; the second one
+black and red, a&nbsp;white line dividing the two colors; the third one,
+blue; the fourth, black. The white tube was an offering to Hasjelti; the
+red, to Zaadoltjaii; the blue, to Hostjoboard; the black, to Naaskiddi,
+the hunchback. The tubes were filled as before described. These tubes
+were begun and finished by the same person. (See <a href="#plateCXVI">Pl. <span class="smallroman">CXVI</span></a>.) When the
+tubes were finished they were put into corn husks and bits of cotton
+cloth; tiny pieces of turquois, white shell, abalone, and archaic black
+beads having first been placed on the husks and cloths. The four turkey
+plumes with barred tips that lay upon the rug were subsequently placed
+upon the tubes. These parcels were sprinkled by the song priest with
+corn pollen, and after closing them he placed them in the hands of the
+invalid, who sat at the northeast corner of the rug facing east. The
+song-priest sat before him and said a long prayer, which the invalid
+repeated. At the close of the prayer an aged attendant received the
+parcels from the theurgist and placed them to the soles of the feet,
+palms, etc., of the invalid. They were afterward placed to his mouth and
+he drew from them a long breath. The old man carried the parcels south
+over the brow of a hill and deposited them in secluded spots about 4
+feet apart, repeating a brief prayer over each one; he then motioned
+toward the east, south, west, and north, and returned to the lodge.
+During his absence the choir sang; in the meantime the fire in the lodge
+was reduced to embers.</p>
+
+
+<h5 class="section"><a name="day4_third" id="day4_third">
+THIRD CEREMONY.</a></h5>
+
+<p>About noon a circular bed of sand, some four inches in height and
+four feet in diameter, was made. Five grains of corn and five pine
+boughs were laid thereon; four of the grains of corn and four of the
+boughs were placed to the cardinal points. The fifth and center branch
+of pine covered most of the circle, its tips pointing to the east. The
+fifth grain of corn was dropped in the center of the sand bed. (See <a
+href="#plateCXVII">Pl. <span class="smallroman">CXVII</span></a>,&nbsp;1). Four of these pine boughs were
+cut from the east, south, north, and west sides of one tree. The fifth
+bough may be taken from any part of the tree. Of the five grains of corn
+one must be white, one yellow, and one blue, and the other two grains
+may be of either of these three colors. On this particular occasion
+there were
+<a name="page251" id="page251"> </a>
+two blue, two white, and one yellow. These grains were, after the
+ceremony, dried and ground by the theurgist and placed among his
+medicines. The boughs and sand absorbed the disease from the invalid,
+and at the close of the ceremony they were carried to the north and
+deposited in a shady spot that the sun might not touch and develop the
+latent disease that had been absorbed by them. The boughs and sand were
+never afterward to be touched. An Apache basket containing yucca root
+and water was placed in front of the circle. (See <a href="#plateCXVII">Pl. <span class="smallroman">CXVII</span></a>&nbsp;2.)
+There was a second basket south of it which contained water and a
+quantity of pine needles sufficiently thick to form a dry surface, and
+on the top a number of valuable necklaces of coral, turquois, and
+silver. A&nbsp;square was formed on the edge of the basket with four
+turkey wands. (See <a href="#plateCXVII">Pl. <span class="smallroman">CXVII</span></a>&nbsp;3.) The song-priest with rattle led
+the choir. The invalid sat to the northeast of the circle;
+a&nbsp;breechcloth was his only apparel. During the chanting an
+attendant made suds from the yucca. The basket remained in position; the
+man stooped over it facing north; his position allowed the sunbeams
+which came through the fire opening to fall upon the suds. When the
+basket was a mass of white froth the attendant washed the suds from his
+hands by pouring a gourd of water over them, after which the song-priest
+came forward and with corn pollen drew a cross over the suds, which
+stood firm like the beaten whites of eggs, the arms of the cross
+pointing to the cardinal points. A&nbsp;circle of the pollen was then
+made around the edge of the suds. The attendant who prepared the suds
+touched his right hand to the four points of the pollen lines and in the
+center and placed it upon the head of the patient who first made a
+circle embracing the sand and basket and then knelt upon the boughs in
+the center of the sand.<a class="tag" name="tag3b" id="tag3b" href="#note3b">3</a> A handful of the suds was afterwards put upon his head.
+The basket was placed near him and he bathed his head thoroughly; the
+maker of the suds afterwards assisted him in bathing the entire body
+with the suds, and pieces of yucca were rubbed upon the body. The chant
+continued through the ceremony and closed just as the remainder of the
+suds was emptied by the attendant over the invalid’s head. The song
+priest collected the four wands from the second basket and an attendant
+gathered the necklaces. A&nbsp;second attendant placed the basket before
+the invalid who was now sitting in the center of the circle and the
+first attendant assisted him in bathing the entire body with this
+mixture; the body was quite covered with the pine needles which had
+become very soft from soaking. The invalid then returned to his former
+position at the left of the song priest, and the pine needles and yucca,
+together with the sands, were carried out and deposited at the base of a
+piñon tree. The body of the invalid was dried by rubbing with meal.</p>
+
+
+<p class="illustration">
+<a name="plateCXVII" id="plateCXVII"> </a>
+<img src="images/plate117thumb.jpg"
+width="304" height="207" alt="boughs and baskets"
+title="boughs and baskets" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXVII.</span>
+1. PINE BOUGHS. 2, 3. BASKETS.<br/>
+<a href="images/plate117large.jpg">Larger
+View</a></p>
+
+<p>
+<a name="page252" id="page252"> </a>
+</p>
+
+<h5 class="section"><a name="day4_fourth" id="day4_fourth">
+FOURTH CEREMONY.</a></h5>
+
+<p>This ceremony commenced almost immediately after the close of the one
+preceding. The rug was spread over the ground in front of the song
+priest; four bunches of small sticks were brought in and laid in piles
+north, south, east, and west of the rug. Four attendants took seats,
+each before a pile of the wood, and scraped off the bark of their
+respective heaps; they then cut twelve pieces 2 inches in length, except
+that cut by the attendant who sat at the north, who made his about 1¼
+inches long. Being asked why he cut his shorter than the rest, he
+replied, “All men are not the same size.” The sticks were sharpened at
+one end and cut squarely off at the other. In order that all of the
+sticks should be of the same length they were measured by placing the
+three first fingers across the stick. The fifth man sat immediately to
+the right of the song priest, who took a hollow reed from the large
+medicine bag from which he cut four pieces, each piece the breadth of
+his three fingers. The reed, which was cut with a stone knife, was
+afterwards rubbed with native tobacco. Six sticks of each of the piles
+had their square ends beveled; these represented females. The attendant
+on the east side of the rug having completed his twelve sticks, painted
+them white with kaolin finely ground and mixed with water. The flat ends
+of the sticks were colored black; the beveled parts were painted blue;
+around the lower end of the blue was a bit of yellow which represented
+the jaw painted with corn pollen. Three black dots were painted upon the
+blue for the eyes and mouth; the ground color was laid on with the
+finger; the other decorations were made with yucca brushes. The man on
+the south side colored his sticks blue. The tops of six sticks were
+painted yellow, and six were black. The black ends were those having the
+beveled spots. These spots were blue with a chin of yellow; they also
+had the three black dots for eyes and mouth. The man to the west colored
+his sticks yellow with the flat ends black; the beveled spots of six of
+them were blue with a yellow chin and three black dots for eyes and
+mouth. The sticks to the north were colored black; six of them had the
+beveled parts colored blue with a yellow jaw, and three spots for eyes
+and mouth; the six sticks that were not beveled had their flat tops
+painted blue. All these sticks were laid on the rug with their flat ends
+outward. The attendants who prepared the reeds, each reed being colored
+for a cardinal point, filled them with balls of humming-bird feathers
+and tobacco and lighted them with a crystal, when they were touched with
+corn pollen. The reed for the east was white, the one for the south
+blue, that for the west yellow, and that for the north black. Each reed
+was placed at its appropriate point in line with the sticks. (See <a
+href="#plateCXVIII">Pl. <span class="smallroman">CXVIII</span></a>.)
+The theurgist then advanced, carrying a basket half filled with corn
+meal. This he placed in the center of the rug; when kneeling on the edge
+of the rug and beginning with the white sticks, he placed first the
+white reed in the east side of the basket, and passing from this point
+around to the right he placed the
+<a name="page253" id="page253"> </a>
+six offerings to the gods, then the six to the goddesses. Next taking
+the blue tube at the south end he placed it to the left of the white
+line of sticks, leaving sufficient space for the sticks between it and
+the white tube; all the blue ones were placed in position corresponding
+to the white. The yellow followed next, and then the black. All were
+placed with their flat ends or heads pointed to the rim of the basket.
+The theurgist deposited the basket in the niche on a pile of turkey
+feather wands, the wands resting upon a large medicine bag. The sticks
+and scraps left after making the tubes were carried out and deposited
+without ceremony.</p>
+
+
+<p class="illustration">
+<a name="plateCXVIII" id="plateCXVIII"> </a>
+<img src="images/plate118thumb.jpg"
+width="227" height="339" alt="rug and tubes"
+title="rug and tubes" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXVIII.</span>
+BLANKET RUG AND MEDICINE TUBES AND STICKS.<br/>
+<a href="images/plate118large.jpg">Larger
+View</a></p>
+
+
+<h5 class="section"><a name="day4_fifth" id="day4_fifth">
+FIFTH CEREMONY.</a></h5>
+
+<p>The rug which was spread in front of the song priest was composed of
+two blankets whose edges met, and upon this rug there were two lines of
+masks running north and south; the tops of the masks were to the east.
+There were sixteen masks; those representing the gods cover the head,
+and those representing goddesses cover the face only. They were
+decorated with ribbons, plumes, etc. During the forenoon prayers were
+said over them and meal sprinkled upon them.</p>
+
+
+<h5 class="section"><a name="day4_sixth" id="day4_sixth">
+SIXTH CEREMONY.</a></h5>
+
+<p>Just after dark those who were to take part in the ceremony prepared
+to personate one of the Hostjobokon and two of the Hostjoboard
+(goddesses)&mdash;Hostjoghon and Hasjelti. Hostjobokon’s body and limbs
+were painted, and he wore a mountain lion’s skin doubled lengthwise and
+fastened around the loins at the back, and a silver belt encircled his
+waist. Hasjelti wore knee breeches and a shirt of black velvet,
+ornamented with silver buttons. His face and hands were covered with
+white kaolin. Hostjoghon’s body was painted white, and he wore a red
+silk scarf around the loins, caught on with a silver belt. The two men
+personating the goddesses had their limbs painted white; one wore a
+black sash around his loins, held by a silver belt. The other had a red
+woolen scarf and silver belt; gray foxskins hung from the back of the
+belts. The masks were fastened to their heads before leaving the lodge
+by means of a string and a lock of their hair, and they were then thrown
+back from the head. After a little indulgence in their hoots they all
+left the lodge. The invalid entered the lodge and, stepping upon a piece
+of white cotton which had been laid diagonally across the rug to the
+northeast and southwest, took off his clothing. The lodge had now become
+very crowded. The fire, which had burned brightly during the day, was
+mere coals. The attendant at the left of the song priest opened the
+choir with the rattle. The invalid sat upon the cotton cloth. Hasjelti,
+entering with his favorite hoot amidst rattle and song, placed the
+square (representing the concentrated winds) four times over the head of
+the invalid and ran out of the lodge. He entered again and received
+<a name="page254" id="page254"> </a>
+from the theurgist one of the twelve white sticks which during the
+forenoon had been placed in the basket. The white stick farthest from
+the white reed was handed him. This Hasjelti placed to the soles of the
+feet, knees, palms, etc., of the invalid, amid hoots and antics, after
+which he dashed out and hurled the stick to the east. One of the
+Hostjoboard entered and received the next white stick, and after the
+same ceremony ran out and cast it to the east. Hostjobokon returned and
+the theurgist handed him the next white stick, when he repeated the
+ceremony, hurried from the lodge, and threw the stick to the east.
+Hostjoboard again entered, received a stick, repeated the ceremony, and
+ran out and threw it to the east; and thus Hostjobokon and Hostjoboard
+alternated until all the white sticks were disposed of, when Hasjelti
+reappeared and received from the song priest the white reed (cigarette)
+and carried it from the lodge. When he returned the theurgist handed him
+one of the blue sticks, with which he repeated the ceremony and, leaving
+the lodge, threw it to the south, when Hostjoghon and Hostjoboard
+alternately disposed of the blue sticks in the same order in which the
+white sticks had been distributed. The yellow and black sticks were
+disposed of in a similar manner, Hasjelti officiating with the first
+stick of each color and the reeds. The yellow sticks were thrown to the
+west; the black to the north. This was all done amidst the wildest hoots
+and song of the choir, accompanied by the rattle.</p>
+
+<p>Hasjelti again appeared and placed the square four times over the
+invalid’s head with wild hoots. The four cigarettes to be smoked by the
+gods were afterwards taken by four of the personators of the gods and
+deposited in a secluded spot under a tree and sprinkled with corn
+pollen; after their return Hasjelti again placed the square over the
+invalid’s head. The song priest placed two live coals in front of the
+invalid, and upon the coals he put a pinch of tobacco, the smoke of
+which the invalid inhaled. The attendant poured water over the coals,
+when they were thrown out at the fire opening of the lodge. The
+personators of the gods returned to the lodge bearing their masks in
+their hands. The invalid put on his clothing and took his seat upon the
+rug, but in a short time he returned to his former seat on the northwest
+side of the lodge. The sweat-house priest appeared with a large buffalo
+robe which he spread before the song priest, the head pointing north,
+and upon this various kinds of calico were laid, carefully folded the
+length of the robe. There were many yards of this. Upon the calico was
+spread a fine large buckskin, and on this white muslin; these were all
+gifts from the invalid to the song priest. The masks were then laid upon
+the cotton (see <a href="#plateCXV">Pl. <span class="smallroman">CXV</span></a>, 7,&nbsp;8); the mask of Hasjelti was on the
+east side to the north end, that of Hostjoghon at the south end, and
+between these the six masks of the Hostjobokon were placed. Immediately
+under these were the six Hostjoboard, and beneath the latter were the
+masks of Naiyenesgony and Tobaidischinni at the north end. Three other
+masks of the Etsethle followed in line running south.
+<a name="page255" id="page255"> </a>
+After all the masks had been properly arranged the song priest sprinkled
+them with pollen. Beginning with Hasjelti he sprinkled every mask of the
+upper line thus: Over the top of the head down the center of the face,
+then forming a kind of half-circle he passed over the right cheek, then
+passing his hand backward to the left he sprinkled the same line up the
+left cheek. The second and third rows had simply a line of the pollen
+run across the masks, beginning at the north end. The theurgist repeated
+a prayer during the sprinkling of the pollen, then handed the bag of
+pollen to the priest of the sweat house, who repeated the sprinkling of
+the masks, when everyone in the lodge, each having his individual bag of
+pollen, hastened forward and sprinkled the masks, at the same time
+offering prayers. The theurgist and priest of the sweat house again
+sprinkled pollen on the masks as heretofore described.</p>
+
+<p>Baskets and bowls in unlimited quantity, filled with food, were
+placed in a circle around the fire which now burned brightly. The guests
+formed into groups and drew the food toward them, but did not touch it
+for a time. The invalid, song-priest, and his attendants, indulged in a
+smoke which was social and not religious, the white man’s tobacco being
+preferred on such occasions. A&nbsp;girl and a boy, about 12 years of
+age, came into the lodge. The boy was the son of the invalid, the girl
+his sister’s child. The boy knelt at the northeast end of the rug and
+the girl at the southeast end. They were richly dressed in Navajo
+blankets, coral necklaces, etc., and they remained perfectly quiet. The
+theurgist and his attendants talked together in an undertone, and if the
+inmates of the lodge spoke at all their voices were scarcely audible.
+After a time the choir opened, led by the song-priest with his rattle.
+During the singing the rattle was passed from one to the other. The
+invalid did not join in the song. The choir continued an hour without
+cessation, and then rested 2 minutes, and again began and continued for
+another hour.<a class="tag" name="tag4b" id="tag4b" href="#note4b">4</a> At the conclusion of the singing the song-priest handed
+to the girl a wand of turkey plumes taken from a basket of feathers
+which had stood, since the placing of the masks, on the west side of
+him. Another wand was passed to the boy; and the children received some
+instructions from the song-priest, who spoke in an undertone, after
+which, an attendant filled with water from a wicker water jug a basket
+that had stood throughout the ceremony at the east of the rug.</p>
+
+<p>The song was now resumed, and dipping the wand he held in the basket
+of water the boy sprinkled the masks, beginning at the north end and
+east row. The girl repeated the same. The east row of masks was
+sprinkled twice. When the children sprinkled the middle and west rows,
+the ceremony was always begun at the north end of each line of masks;
+again dipping their wands in the water, the boy beginning at the north
+side and the girl at the south, they sprinkled the inmates of
+<a name="page256" id="page256"> </a>
+the lodge. The children were very awkward, and were rendered more so by
+the many scoldings given them for their mistakes. The sprinkling of the
+people was continued until the water was exhausted. The lodge was also
+sprinkled at the cardinal points. The song never ceased throughout this
+ceremony. The girl and boy, taking the position first assigned them, an
+attendant, with a reed filled with sacred tobacco, puffed the smoke over
+the masks, smoking each mask separately on the east row; the middle and
+west rows he hurriedly passed over. While this was being done an
+attendant took a pinch from all the different foods and placed what he
+gathered into a basket in the niche behind the song-priest.<a class="tag" name="tag5b" id="tag5b" href="#note5b">5</a> After the masks
+had been smoked, the attendant puffed the smoke over all the people,
+beginning on the north side of the lodge. During the smoking the song
+ceased, but was resumed when the attendant took his seat. At the close
+of the song sacred meal was mixed with water in a Zuñi pottery bowl.
+This meal is made of green corn baked in the earth and then ground.
+During the preparation of this medicine mixture the song-priest sang:
+“This food is mixed for the people of the rocks! We feed you with this
+food, O&nbsp;people of the rocks!” The theurgist then dipped his
+forefinger into the mixture, and running his hand rapidly over the masks
+from north to south, he touched each mouth; each line was passed over
+four times. The invalid dipped his three first fingers into the basket,
+and placing them in his mouth, sucked in his breath with a loud noise.
+This was repeated four times by the invalid and then by each of the
+attendants, when all the inmates of the lodge were expected to partake
+of the mixture. This was done with a prayer for rain, good crops,
+health, and riches. All hands now participated in the feast.</p>
+
+
+<h5 class="section"><a name="day4_foods" id="day4_foods">
+FOODS BROUGHT INTO THE LODGE.</a></h5>
+
+<table class="inline text" summary="list of foods">
+<tr>
+<td>Da’ttuneilgaij</td>
+<td><p>Pats made of wheat flour and fried.</p></td>
+</tr>
+<tr>
+<td><ins class="translit" title="...l[)o]nni">Tab’aestch’lŏnni</ins></td>
+<td><p>Corn meal pats wrapped in corn husks and boiled.</p></td>
+</tr>
+<tr>
+<td><ins class="translit" title="Tan[-a]...">Tanā’shkiji</ins></td>
+<td><p>Thick mush boiled and stirred with sticks.</p></td>
+</tr>
+<tr>
+<td><ins class="translit" title="...[-a]di">Nänesk’ādi</ins></td>
+<td><p>Tortillas.</p></td>
+</tr>
+<tr>
+<td>Ta’bijai</td>
+<td><p>Four small balls of corn meal wrapped in corn husks and
+boiled.</p></td>
+</tr>
+<tr>
+<td>Insi’dok’ui</td>
+<td><p>Corn bread with salt, made from the new corn, wrapped in corn
+husks and baked in ashes.</p></td>
+</tr>
+<tr>
+<td><ins class="translit" title="Tk[-a]ditin">Tkāditin</ins></td>
+<td><p>White corn meal mush.</p></td>
+</tr>
+<tr>
+<td>Klesa’hn</td>
+<td><p>Corn meal dough in rectangular cakes baked in ashes, hot earth,
+or sand.</p></td>
+</tr>
+<tr>
+<td><ins class="translit" title="Ts[-e]ste...">Tsēste’lttsoi</ins></td>
+<td><p>Cakes some fourth of an inch thick made from sweet corn mixed
+with goat’s milk and baked on a hot rock.</p></td>
+</tr>
+<tr>
+<td>Tseste’</td>
+<td><p>Bread made of corn first toasted and then finely ground and made
+into a thin batter which is baked upon a highly polished lava slab. The
+crisp gauzy sheets are folded or rolled.</p></td>
+</tr>
+<tr>
+<td>Tki’neshpipizi</td>
+<td><p>Small balls of corn meal mush.</p></td>
+</tr>
+<tr>
+<td>
+<a name="page257" id="page257"> </a>
+To’tkonji</td>
+<td><p>Corn meal cakes one-fourth of an inch in thickness of old corn,
+baked in a pan; they are seasoned with salt.</p></td>
+</tr>
+<tr>
+<td>Älkaandt</td>
+<td><p>A bread made from sweet corn which is first parched then ground
+on a metate and then chewed by women and girls and placed in a mass in a
+flat basket; this must be either of yellow or white corn, the blue corn
+is never used for this purpose. A&nbsp;mush is made of either white or
+yellow corn meal and the former preparation which has become yeast is
+stirred into the mush. A&nbsp;hole is then dug in the ground (near the
+fire) and lined with shucks into which the mush is poured, it is then
+covered with shucks after which earth is thrown over it and a large fire
+built which burns all night. In the early morning the cinders and coals
+are removed when the bread is found to be baked.</p></td>
+</tr>
+<tr>
+<td>Tkleheljoe</td>
+<td><p>Yeast is prepared for this bread in the same manner as that for
+the Älkaandt except that the corn is baked instead of parched. The yeast
+is then mixed with meal into a stiff dough and baked in corn husks, four
+pats are placed in each package.</p></td>
+</tr>
+<tr>
+<td><p>Ta’nätnil (beverage)</p></td>
+<td><p>Is the same preparation as the yeast used in the Älkaandt except
+in this case a drink is made of it by pouring boiling water over
+it.</p></td>
+</tr>
+<tr>
+<td>Diz’etso</td>
+<td><p>Peaches (fresh or dried) stewed. There were also several large
+bowls of stewed mutton.</p></td>
+</tr>
+</table>
+
+<p>Little groups of threes and fives were formed over the floor of the
+lodge; others less fortunate were closely packed together around the
+outer edge of the lodge and could procure their food only through the
+generosity of their neighbors. The girl and boy left the lodge after
+having partaken of the sacred meal mixture. After refreshment the
+song-priest lifted each mask with his left hand beginning with Hasjelti,
+and first extending his right hand, which held a fine large crystal,
+toward the heavens, he touched the under part of each mask with the
+crystal; four times he passed over the masks. The choir sang but no
+rattle was used. The crystal was afterward placed on the rug opposite
+the basket of feathers. The food vessels were removed and the song
+continued for a time when the song-priest repeated a long low prayer,
+after which the song was resumed, and thus the night was consumed in
+prayer and song over the masks.</p>
+
+
+
+<h4 class="chapter"><a name="day5" id="day5">
+FIFTH DAY.</a></h4>
+
+
+<h5 class="section"><a name="day5_first" id="day5_first">
+FIRST CEREMONY.</a></h5>
+
+<p>A basket of yucca suds was prepared by an attendant, who cleansed his
+hands of the suds by pouring a gourd of clear water over them; he then
+put a handful of the suds upon the head of a man who stood before him,
+nude with the exception of a breech cloth, after which the man washed
+his head from a water jug which was held over the head of the
+<a name="page258" id="page258"> </a>
+bather by the attendant. The bather covered his body with the suds, and
+the contents of the jug was emptied on the floor of the lodge by the
+attendant. The man dressed himself in the ordinary cotton clothing with
+rare beads around his neck, and a leather pouch held by a band of
+mountain sheep skin over his shoulders; he knelt before a bowl of white
+kaolin which he spread over his face; he then took his seat between two
+attendants, the one to the right of him holding a pinch of native
+tobacco and the one on the left holding corn meal in the palms of the
+right hands.</p>
+
+<p>At early dawn the buffalo robe at the entrance of the lodge was
+slightly dropped from the doorway to admit the rays of approaching day.
+The masks which had been sung and prayed over all night were laid away
+in the niche behind the song-priest. The little girl who performed the
+previous night returned to the lodge, but I could not see that she was
+there for any purpose save to eat some of the remaining food, which had
+been gathered into two large parcels and left by the old woman who
+removed the vessels after the feast. A&nbsp;red blanket was laid and
+upon it a piece of white cotton. A&nbsp;reed five inches in length and
+twice the diameter of the others heretofore used was prepared. The reed
+was colored black in the usual manner and filled with a feather ball and
+tobacco. It was lighted with the crystal and touched with the pollen.
+Upon the completion of the tube the invalid took his seat on the west
+side of the rug, the attendant who prepared the tube sitting on the west
+side; he took from one pouch four white shell beads and from another a
+turquoise bead; he looped a cord of white cotton yarn some three feet
+long around the pollen end of the tube and fastened to the loop two wing
+feathers of the Arctic blue bird, one from the right wing and one from
+the left, and a tail feather from the same bird and three feathers from
+a bird of yellow plumage, the right and left wing and tail feather. The
+five beads were strung on the string, the turquoise being the first put
+on; these were slipped up the cord and two under tail-feathers and a
+hair from the beard of the turkey were fastened to the end of the string
+with a loop similar to that which attached it to the tube. (See <a href="#plateCXIX">Pl. <span class="smallroman">CXIX</span></a>.) This was
+the great (cigarette) offering to Hasjelti and must be placed in a
+canyon near a spring, for all birds gather at the waters. This was
+offered that the song-priest might have his prayers passed straight over
+the line of song. This offering secures the presence of this most valued
+god and so fills the mind of the song-priest with song and prayer that
+it comes forth without hesitation and without thought, so that he may
+never have to think for his words. A&nbsp;small quantity of each variety
+of sand used in decorating was placed on a husk with a little tobacco,
+and on these a pinch of corn pollen; the tube was then laid on the husk
+and the string and feathers carefully placed. Two additional feathers,
+the under tail of the eagle and turkey, were laid on the husk.
+A&nbsp;blue feather was dipped in water, then in pollen, and rubbed
+twice over these feathers; an attendant folded the parcel and
+<a name="page259" id="page259"> </a>
+the song-priest received it and touched it to the soles of the feet,
+knees, palms, breast, and back and mouth of the invalid; he then put a
+pinch of the pollen into the invalid’s mouth, and a pinch on the top of
+the head; he placed the folded husk in the invalid’s hand, and stood in
+front of him and whispered a long prayer which the invalid repeated
+after him. The manner of holding the husk has been previously described.
+The man with painted face received the husk from the theurgist, who
+returned to his seat and at once opened the chant with the rattle. At
+the close of the chant the holder of the husk touched the soles of the
+feet, palms, etc., of the invalid with it and left the lodge. This
+precious parcel was taken three miles distant and deposited in a canyon
+near a spring where there is a luxuriant growth of reeds. Prayers were
+offered by the depositor for health, rain, food, and good fortune to
+all. Only the theurgist and his attendants and a few of the near
+relatives of the invalid were present at this ceremony.</p>
+
+<p class="illustration">
+<a name="plateCXIX" id="plateCXIX"> </a>
+<img src="images/plate119thumb.jpg"
+width="225" height="340" alt="rug and tube" title="rug and tube" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXIX.</span>
+BLANKET RUG AND MEDICINE TUBE.<br/>
+<a href="images/plate119large.jpg">Larger
+View</a></p>
+
+
+<h5 class="section"><a name="day5_second" id="day5_second">
+SECOND CEREMONY.</a></h5>
+
+<p>The sweat-house priest preceded the invalid and song-priest, the
+latter carrying his medicine basket, wands, etc. The hot stones and pine
+boughs were put into the sweat house; meal was sprinkled around the west
+base and the wands deposited, as before described, by the song-priest.
+Three white and black striped blankets were placed over the entrance,
+one upon the other, and upon these were a buckskin and several folds of
+white muslin. An attendant brought a large medicine bowl half filled
+with pine needles; water was poured upon these; a&nbsp;small earthen
+bowl and a gourd containing water were placed before the song-priest,
+who put into the bowl chopped sage, over which he sprinkled dried foods
+reduced to powder; a&nbsp;small quantity of meal was also sprinkled into
+the gourd and bowl. The song then began. A&nbsp;small pine bough was
+laid to the right of the entrance of the sweat house. The opening of the
+song was a call upon the gods to impart to the medicine power to
+complete the cure of the invalid and to make all people well, and to
+have a wet and good ground all over the earth. This song is specially
+addressed to Toneennili, the water sprinkler.</p>
+
+<p>Hasjelti and Hostjoghon arrived just as the sick man emerged from the
+sweat house. The invalid bathed himself from the bowl of pine needles
+and water. Taking the sheep’s horn in the left hand and a piece of hide
+in the right, Hasjelti pressed the invalid’s body as before described.
+The god was requested by the priest of the sweat house to pay special
+attention to the rubbing of the head of the invalid. The small gourd was
+handed to Hasjelti, who gave four drafts of its contents to the invalid.
+Hasjelti touched the soles of the feet, palms, etc., of the invalid with
+medicine water from the bowl. The gods then suddenly disappeared. On
+this occasion Hostjoghon took no part in administering the medicine. The
+invalid, after putting on his clothing, proceeded to the lodge, followed
+by the song-priest. The sweat house
+<a name="page260" id="page260"> </a>
+was razed as usual, and the pine boughs and stones were placed to the
+north of the house in a small piñon tree; the logs of the house were
+deposited on the ground a few feet from the tree. A&nbsp;line of meal
+the length of the medicine tube was sprinkled on the logs and the tube
+laid thereon. Meal was sprinkled over the tube and logs.</p>
+
+
+<h5 class="section"><a name="day5_third" id="day5_third">
+THIRD CEREMONY.</a></h5>
+
+<p>The first sand painting occurred on October 16; it was begun in the
+early forenoon and completed at sundown. Common yellowish sand was
+brought in blankets. This formed the ground color for the painting. It
+was laid to form a square 3 inches in depth and 4 feet in diameter. Upon
+this three figures were painted after the manner described of the
+painting of the rainbow over the sweat house. Nine turkey wands were
+placed on the south, west, and north sides of the square, and a line of
+meal with four foot-marks extended from near the entrance of the lodge
+to the painting. (See <a href="#plateCXX">Pl. <span class="smallroman">CXX</span></a>.)</p>
+
+<p>Hasjelti stands to the north end in the illustration, holding the
+emblem of the concentrated winds. The square is ornamented at the
+corners with eagle plumes, tied on with cotton cord; an eagle plume is
+attached to the head of Hasjelti with cotton cord. The upper horizontal
+lines on the face denote clouds; the perpendicular lines denote rain;
+the lower horizontal and perpendicular lines denote the first vegetation
+used by man. Hasjelti’s chin is covered with corn pollen, the head is
+surrounded with red sunlight, the red cross lines on the blue denote
+larynx; he wears ear rings of turquoise, fringed leggings of white
+buckskin, and beaded moccasins tied on with cotton cord. The figure to
+the south end is Hostjoghon; he too has the eagle plume on the head,
+which is encircled with red sunshine. His earrings are of turquoise; he
+has fox-skin ribbons attached to the wrists; these are highly ornamented
+at the loose ends with beaded pendants attached by cotton strings; he
+carries wild turkey and eagle feather wands, brightened with red, blue,
+and yellow sunbeams. The center figure is one of the Hostjobokon, and
+upon this figure the invalid for whom the ceremonial is held sits. The
+four footprints are made of meal. These the invalid steps upon as he
+advances and takes his seat, with knees drawn up, upon the central
+figure. After dark the invalid walked over the line of meal, being
+careful to step upon the footprints in order that his mental and moral
+qualities might be strengthened. The invalid removed his clothing
+immediately after entering the lodge; he had downy breast feathers of
+the eagle attached to the scalp lock with white cotton cord; he advanced
+to the painting and took his seat upon the central figure. An attendant
+followed him, and with his right hand swept the line of meal after the
+invalid, removing all traces of it. The entrance of the invalid into the
+lodge was a signal for the song-priest to open the chant with the
+rattle. Hasjelti and Hostjoghon bounded into the lodge hooting wildly.
+The former carried the square
+<a name="page261" id="page261"> </a>
+(the concentrated winds), which he placed over the sick man’s head.
+Hostjoghon carried a turkey wand in each hand, and these he waved over
+the invalid’s head and hooted; this was repeated four times, and each
+time the gods ran out of the lodge. Hasjelti wore a velvet dress, but
+Hostjoghon’s body was nude, painted white. This wild, weird ceremony
+over, the sick man arose and the song-priest gathered the turkey wands
+from around the painting, while an attendant erased it by rubbing his
+hands over the sand to the center. The sands were gathered into a
+blanket and carried out of the lodge and deposited some distance away
+from the lodge, where the sun could not generate the germ of the
+disease. The sand is never touched by any one when once carried out,
+though before the paintings are erased the people clamor to touch them,
+and then rub their hands over their own bodies that they may be cured of
+any malady. The invalid, after putting on his clothes, returned to his
+family lodge. A&nbsp;group then gathered around the spot where the
+paintings had been and joined in a weird chant, which closed the fifth
+day’s ceremony.</p>
+
+<p class="illustration">
+<a name="plateCXX" id="plateCXX"> </a>
+<img src="images/plate120thumb.jpg"
+width="208" height="339" alt="sand painting"
+title="sand painting" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXX.</span>
+FIRST SAND PAINTING.<br/>
+<a href="images/plate120large.jpg">Larger
+View</a></p>
+
+
+
+
+<h4 class="chapter"><a name="day6" id="day6">
+SIXTH DAY.</a></h4>
+
+
+<p>Preparations for a great sand painting began at daylight. Sand for
+the ground work was carried in in blankets; the fire which had burned
+through the previous ceremonies was first removed and all traces of it
+covered with sand. As the artists were to begin the painting with the
+center of the picture only a portion of the ground color was laid at
+first, in order to enable them to work with greater facility. While the
+ground color was being laid a man sat on one side of the lodge grinding
+with a metate and mixing the colors. A&nbsp;quantity of coals were taken
+from the exhausted fire from which to prepare black paint. A&nbsp;small
+quantity of red sand was mixed with the charcoal to give it body or
+weight. The colors used in this sand painting have all been referred to
+in the description of the rainbow over the sweat house. After the
+central portion of the ground work for the painting was smoothed off a
+Jerusalem cross was drawn in black. The eye usually was the only guide
+for drawing lines, though on two occasions a weaving stick was used. As
+a rule four artists were employed, one beginning at each point of the
+cross. Each arm of the cross was completed by the artist who began the
+work. For illustration of painting see <a href="#plateCXXI">Pl. <span
+class="smallroman">CXXI</span></a>.</p>
+
+<p>The black cross-bars in the illustration denote pine logs; the white
+lines the froth of the water; the yellow, vegetable debris gathered by
+the logs; the blue and red lines, sunbeams. The blue spot in center of
+cross denotes water. There are four Hostjobokon with their wives the
+Hostjoboard; each couple sit upon one of the cross arms of the logs.
+These gods carry in their right hands a rattle, and in their left sprigs
+of piñon; the wives or goddesses carry piñon sprigs in both hands; the
+rattle brings male rains, and the piñon, carried by the women, female
+rains; these rains meet upon the earth, conceive and bring forth all
+<a name="page262" id="page262"> </a>
+vegetation. Their heads are ornamented with eagle plumes tied on with
+cotton cord. (Note: In all cases the round head denotes male and
+octangular head female.) The gods have also a bunch of night-owl
+feathers and eagle plumes on the left side of the head; both male and
+female wear turquois earrings and necklaces of the same. The larynx is
+represented by the parallel lines across the blue. A&nbsp;line of
+sunlight encircles the head of both males and females. The white spots
+on the side of the females’ heads represent the ears. The arms of the
+goddesses are covered with corn pollen, and long ribbons of fox skins
+are attached to the wrists, as shown on painting number one. All wear
+beaded moccasins tied on with cotton cord. Their chins are covered with
+corn pollen and red sunlight surrounds the body. The skirts only have an
+additional line of blue sunlight. Hasjelti is to the east of the
+painting. He carries a squirrel skin filled with tobacco. His shirt is
+white cotton and very elastic. The leggings are of white deer skin
+fringed, and the moccasins are similar to the others. His head is
+ornamented with an eagle’s tail, and to the tip of each plume there is a
+fluffy feather from the breast of the eagle. A&nbsp;bunch of night-owl
+feathers is on either side of the eagle tail where it is attached to the
+head. The horizontal and perpendicular lines on the face were referred
+to in the description of the first sand painting. The projection on the
+right of the throat is a fox skin. Hostjoghon’s headdress is similar to
+that of Hasjelti’s. Two strips of beaver skin tipped with six quills of
+the porcupine are attached to the right of the throat. The four colored
+stars on the body are ornaments of beads. The shirt of this god is
+invisible; the dark is the dark of the body. Hostjoghon carries a staff
+colored black from a charred plant. The Navajo paint their bodies with
+the same plant. The top of the staff is ornamented with a turkey’s tail
+tied to the staff with white cotton cord; eagle and turkey plumes are
+alternately attached to the staff with a cord.</p>
+
+<p>The Naaskiddi are to the north and south of the painting; they carry
+staffs of lightning ornamented with eagle plumes and sunbeams. Their
+bodies are nude except the loin skirt; their leggings and moccasins are
+the same as the others. The hunch upon the back is a black cloud, and
+the three groups of white lines denote corn and other seeds of
+vegetation. Five eagle plumes are attached to the cloud backs (eagles
+live with the clouds); the body is surrounded with sunlight; the lines
+of red and blue which border the bunch upon the back denote sunbeams
+penetrating storm clouds. The black circle zigzagged with white around
+the head is a cloud basket filled with corn and seeds of grass. On
+either side of the head are five feathers of the red shafted flicker
+(<i>Colaptes cafer</i>); a&nbsp;fox skin is attached to the right side
+of the throat; the mountain sheep horns are tipped with the under tail
+feathers of the eagle, tied on with cotton cord. The horns are filled
+with clouds. The rainbow goddess, upon which these gods often travel,
+completes the picture.</p>
+
+<p class="illustration">
+<a name="plateCXXI" id="plateCXXI"> </a>
+<img src="images/plate121thumb.jpg"
+width="467" height="333" alt="sand painting"
+title="sand painting" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXXI.</span>
+SECOND SAND PAINTING.<br/>
+<a href="images/plate121large.jpg">Larger
+View</a></p>
+
+<p>
+<a name="page263" id="page263"> </a>
+Upon completion of the painting the song-priest, who stood to the east
+of it holding in his hand a bag of sacred meal, stepped carefully
+between the figures, sprinkling pollen upon the feet and heart of each.
+He then sprinkled a thread of pollen up each cheek and down the middle
+of the face of the figures, afterwards extending his right hand toward
+the east. The face of the encircling rainbow goddess was also sprinkled.
+The song-priest placed the sacred wands around the rainbow, commencing
+on the west side of the painting, and repeated a prayer, pointing his
+finger to the head of each figure. He also placed a small gourd of
+medicine water in the hands of the rainbow goddess and laid a small
+cedar twig on the gourd. The invalid upon entering the lodge was handed
+an Apache basket containing sacred meal, which he sprinkled over the
+painting and placed the basket near the feet of the rainbow goddesses;
+the song-priest and choir sang to the accompaniment of the rattle.
+A&nbsp;short time after the entrance of the invalid Hasjelti appeared,
+and taking the evergreen from the gourd dipped it into the medicine
+water and sprinkled the feet, heart, and heads of the sand figures,
+after which the invalid sat in the center of the cross. Hasjelti gave
+him a sip of the sacred water from the gourd and returned the gourd to
+its place; then he touched the feet, heart, and head of each figure
+successively with his right hand, each time touching the corresponding
+parts of the body of the invalid. Every time Hasjelti touched the
+invalid he gave a weird hoot. After he had been touched with sands from
+all the paintings the theurgist, selecting a few live coals from a small
+fire which had been kept burning near the door, threw them in front of
+the invalid, who still retained his seat in the center of the painting.
+The theurgist placed herbs, which he took from a buckskin bag, on the
+coals from which a very pleasant aroma arose. An attendant sprinkled
+water on the coals and a moment after threw them out of the fire
+opening. The song-priest gathered the wands from around the edge of the
+painting and four attendants began to erase it by scraping the sands
+from the cardinal points to the center. Again the people hurried to take
+sand from the hearts, heads, and limbs of the figures to rub upon
+themselves. The sands were gathered into a blanket and deposited at the
+base of a piñon tree about one hundred yards north of the lodge.
+A&nbsp;chant closed the ceremony.</p>
+
+
+
+
+<h4 class="chapter"><a name="day7" id="day7">
+SEVENTH DAY.</a></h4>
+
+
+<p>The first business of the day was the preparation of an elaborate
+sand picture, and though the artists worked industriously from dawn, it
+was not completed until after 3 o’clock. The paint grinder was kept busy
+to supply the artists. It was observed that in drawing some of the lines
+the artists used a string of stretched yarn instead of the weaving
+stick. When five of the figures had been completed, six young men came
+into the lodge, removed their clothes, and whitened their bodies and
+limbs with kaolin; they then left the lodge to solicit food from the
+people, who
+<a name="page264" id="page264"> </a>
+were now quite thickly gathered over the mesa to witness the closing
+ceremonies. The mesa top for a mile around was crowded with Indians,
+horses, sheep, and hogans (lodges); groups of 3 to 20 Indians could be
+seen here and there gambling, while foot and horse racing were features
+of special interest. Indeed, the people generally were enjoying
+themselves at the expense of the invalid. The rainbow goddess,
+Nattsilit, surrounding the painting, was about 25 feet in length. Upon
+the completion of the painting the song-priest sprinkled the figures
+with pollen as before described and planted the feather wands around the
+pictures.</p>
+
+<p>In the illustration of this painting, <a href="#plateCXXIII">Pl.
+<span class="smallroman">CXXIII</span></a>, Hasjelti will be
+recognized as the leader. He carries a fawn skin filled with sacred
+meal; the spots on the skin are seven and in the form of a great bear.
+The fawn skin indicates him as the chief of all game. It was Hasjelti
+who created game. The first six figures following Hasjelti are the
+Ethsethle. The next six figures are their wives. Toneennili, the water
+sprinkler (<i>to</i>, water, and <i>yonily</i>, to sprinkle), follows
+carrying a water jug, from which he sprinkles the earth. The Ethsethle
+wear leggings of corn pollen and the forearms of the gods are covered
+with pollen. Their wives have their arms and bodies covered with the
+same. The skirts of the Ethsethle are elaborately ornamented and their
+pouches at their sides are decorated with many beads, feathers, and
+fringes. The gods are walking upon black clouds and mist (the yellow
+denoting mist), the women upon blue clouds and mist.</p>
+
+<p>During the ceremony an Apache basket containing meal was brought in
+and placed at the feet of the rainbow goddess. The invalid entered the
+lodge, which had become quite filled with privileged spectators, and
+receiving the basket of meal, sprinkled the figures from left to right;
+he then removed all his clothing except his breech cloth and stood east
+of the painting. Hostjoghon stepped to the head of the rainbow goddess
+and taking the small gourd of medicine water dipped the cedar twig into
+the water and sprinkled the figures, then touched the twig to the feet,
+heart, and head of each figure, commencing at the male figure to the
+north and passing south, then beginning with the female figures to the
+north and passing south. The invalid took his seat in the center of the
+painting with his knees drawn to his chin. Hostjoghon held the medicine
+gourd over each figure and passed it to the invalid, who took four sips,
+Hostjoghon hooting each time he passed the gourd to the invalid. After
+returning the gourd and twig to their former position he placed the
+palms of his hands to the feet and head of each figure and then placed
+his palms on the corresponding parts of the invalid’s body, and pressed
+his head several times between his hands. After touching any part of the
+invalid, Hostjoghon threw his hands upward and gave one of his
+characteristic hoots. The song-priest placed coals in front of the
+invalid and herbs upon them, as he had done the day before, and then
+retired. The coals were afterwards thrown out of the fire opening and
+the crowd rushed to the painting to rub their bodies with the sand.
+<a name="page265" id="page265"> </a>
+The painting was obliterated in the usual manner and the sand carried
+out and deposited at the base of a piñon tree some 200 yards from the
+lodge.</p>
+
+<p class="illustration">
+<a name="plateCXXII" id="plateCXXII"> </a>
+<img src="images/plate122thumb.jpg"
+width="462" height="340" alt="sand painting"
+title="sand painting" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXXII.</span>
+THIRD SAND PAINTING.<br/>
+<a href="images/plate122large.jpg">Larger
+View</a></p>
+
+
+
+
+<h4 class="chapter"><a name="day8" id="day8">
+EIGHTH DAY.</a></h4>
+
+
+<p>The grinding of the paint began at daylight, and just at sunrise the
+artists commenced their work. When any mistake occurred, which was very
+seldom, it was obliterated by sifting the ground color over it. Each
+artist endeavored to finish his special design first, and there was
+considerable betting as to who would succeed. The rapidity with which
+these paints are handled is quite remarkable, particularly as most of
+the lines are drawn entirely by the eye. After the completion of the
+painting, each figure being three and a half feet long, corn pollen was
+sprinkled over the whole by the song priest. (See illustration, <a href="#plateCXXIII">Pl. <span class="smallroman">CXXIII</span></a>.)</p>
+
+<p>The corn stalk in the picture signifies the main subsistence of life;
+the square base and triangle are clouds, and the three white lines at
+the base of the corn stalk denote the roots of the corn. The figures of
+this picture are each 3½ feet in length. These are the Zenichi (people
+of the white rock with a red streak through&nbsp;it) and their wives.
+Their homes are high in the canyon wall. The black parallelogram to the
+west of the painting designates a red streak in the rock in which are
+their homes. The delicate white lines indicate their houses, which are
+in the interior or depths of the rock, and can not be seen from the
+surface. This canyon wall is located north of the Ute Mountain. These
+people of the rocks move in the air like birds. The red portion of the
+bodies of the Zenichi denote red corn; the black portion black clouds.
+The red half of the face represents also the red corn; the blue of the
+bodies of the others denote vegetation in general, and the yellow,
+pollen of all vegetation. The zigzag lines of the bodies is lightning;
+the black lines around the head, zigzagged with white, are cloud baskets
+that hold red corn, which is stacked in pyramidal form and capped with
+three eagle plumes. There are five feathers of the red and black shafted
+flicker (<i>Colapteo cafer</i>) on either side of the head.
+A&nbsp;lightning bow is held in the left hand, the right holds a rattle
+ornamented with feathers. The females carry in their hands decorated
+baskets and sprigs of piñon, and they wear white leggings and beaded
+moccasins. The Zenichi never dance. These gods are also called
+Zaadoljaii, meaning rough mouth, or anything that protrudes roughly from
+the mouth. (The mouth and eyes of these gods protrude.) The rainbow
+goddess is represented at the north and south end of the painting. The
+corn stalk has two ears of corn, while the original stalk had 12 ears.
+Two of these ears the gods gave to the younger brother of the Tolchini
+when they commanded him to return to the Navajo and instruct them how to
+represent the gods in sand painting and in masks. The four corner
+figures will be recognized as the Naashiddi (hunchback, or mountain
+sheep).</p>
+
+<p class="illustration">
+<a name="plateCXXIII" id="plateCXXIII"> </a>
+<img src="images/plate123thumb.jpg"
+width="463" height="315" alt="sand painting"
+title="sand painting" /></p>
+
+<p class="caption"><span class="smallcaps">Plate CXXIII.</span>
+FOURTH SAND PAINTING.<br/>
+<a href="images/plate123large.jpg">Larger
+View</a></p>
+
+<p>
+<a name="page266" id="page266"> </a>
+During the ceremony Hasjelti, dressed in black velvet ornamented with
+silver, and Hostjoboard, with her nude body painted white and with silk
+scarf around the loins caught on with silver belt, left the lodge to
+gather the children upon the mesa for the purpose of initiating them;
+but the children had already been summoned by men who rode over the mesa
+on horseback, visiting every hogan to see that all the children were
+brought for initiation. A&nbsp;buffalo robe was spread at the end of the
+avenue which extended from the medicine lodge some three hundred yards.
+The head of the robe was to the east; at the end of the robe blankets
+were spread in a kind of semicircle. Most of the children were
+accompanied by their mothers. The boys were stripped of their clothing
+and sat upon the buffalo robe. The head of the line being to the north,
+they all faced east with their feet stretched out. Their arms hung by
+their sides and their heads were bent forward. The girls sat in line
+upon the blanket in company with their mothers and the mothers of the
+boys. It is entirely a matter of choice whether or not a mother
+accompanies her child or takes any part in the ceremony. The girls also
+sat like the boys, their heads bent forward. Their heads were bent down
+that they might not look upon the gods until they had been initiated. Up
+to this time they were supposed never to have had a close view of the
+masks or to have inspected anything pertaining to their religious
+ceremonies. The children ranged from five to ten years of age. At this
+particular ceremony nine boys and six girls were initiated. When the
+children were all in position, Hasjelti, carrying a fawn skin containing
+sacred meal, and Hostjoboard, carrying two needles of the Spanish
+bayonet, stood in front of the children. The boy at the head of the line
+was led out and stood facing the east. Hasjelti, with the sacred meal,
+formed a cross on his breast, at the same time giving his peculiar hoot.
+Hostjoboard struck him upon the breast, first with the needles held in
+her right hand and then with those held in the left. Hasjelti then
+turned the boy toward the right until he faced west and made a cross
+with meal upon his back, when Hostjoboard struck him twice on the back
+with the needles. He was again turned to face the east, when both arms
+were extended and brought together. Hasjelti made a cross over the arms
+and then over the knees. Each time the boy was crossed with the meal
+Hostjoboard struck the spot first with the needles in the right hand and
+then with those in the left, after which the boy returned to his seat.
+The cross denotes the scalp knot. Most of the boys advanced quite
+bravely to receive the chastisement. I&nbsp;noticed but one who seemed
+very nervous, and with great difficulty he kept back the tears. The
+boys’ ceremony over, the gods approached the girls, beginning at the end
+of the line next to the boys. Hasjelti marked a line of meal on each
+side of the foot of the girl, when Hostjoboard, now holding two ears of
+yellow corn wrapped with piñon twigs, placed them to the soles of the
+girl’s feet and Hasjelti drew a line of meal on each hand; after which
+Hostjoboard placed the
+<a name="page267" id="page267"> </a>
+ears of corn to the palms of the hands, she holding the corn in her
+palms and pressing it to the palms of the girl’s hands. Hasjelti formed
+a cross on the breast with the meal and Hostjoboard pressed the two ears
+of corn to the breast; a&nbsp;cross was made on the back and the two
+ears of corn pressed to the back. Hasjelti, with his right hand, then
+drew a line on the girl’s left shoulder, and with his left hand a line
+on the girl’s right shoulder, the corn being pressed to the shoulders in
+the manner described. Two lines of meal were run over the forehead back
+to the top of the head, and the two ears of corn pressed to the top of
+head. The boys were nude but the girls were gayly dressed in blankets,
+jewelry, etc. At the close of this ceremony the representatives of the
+gods removed their masks and called upon the children to raise their
+heads. The amazement depicted upon the faces of the children when they
+discovered their own people and not gods afforded much amusement to the
+spectators. The masks were laid upon a blanket and the girls and boys
+were commanded to look upon them. Hostjoboard placed her mask upon the
+face of each boy and girl and woman in the line, beginning at the north
+end of the line, giving a hoot each time the mask was placed upon
+anyone. Great care was taken that the mask should be so arranged upon
+the face that the eyes might look directly through the eyeholes, for
+should any blunder occur the sight of at least one eye would be lost. It
+is scarcely on before it is removed. After the masks had been placed on
+all the faces it was laid beside Hasjelti’s. The man personating
+Hasjelti sprinkled his mask and then Hostjoboard’s with pollen, and the
+man personating Hostjoboard sprinkled Hasjelti’s mask and then his own
+with pollen. The boy to the north end of the line was called out and
+from the pollen bag took a pinch of pollen and sprinkled first the mask
+of Hasjelti and then Hostioboard’s. This was repeated by each boy, girl,
+and woman in the line. In approaching the masks they always pass back of
+the line around to the north side and then step in front of the masks.
+The mask is sprinkled in this wise: A&nbsp;line of pollen is run from
+the top of the head down to the mouth; passing around to the right the
+line is drawn upward over the left cheek; the hand continues to move
+outside of the mask to a point below the right cheek, then up the right
+cheek. The younger children’s hands were guided by the representatives
+of the gods. It would be a great fatality to sprinkle a drop of meal
+over the eye holes; the individual committing such an error would become
+blind at least in one eye. Great care is also taken that the line is run
+up the cheek, for if it was run down not only would vegetation be
+stunted, but the lives of the people would become so, as all people and
+things should aim upward not downward. The line running down through the
+center of the face calls upon the gods above to send down rain upon the
+earth and health to all people. Two or three children started through
+ignorance to run the meal down one of the cheeks; they were instantly
+stopped by Hasjelti, but not until the people looking on had expressed
+<a name="page268" id="page268"> </a>
+great horror. All in the line having gone through this ceremony the
+crowd of spectators sprinkled the masks in the same manner. I&nbsp;was
+requested to sprinkle them, and at the same time was specially
+instructed to run the lines up the cheeks. This closed the ceremony of
+initiation. The boys were then permitted to go around at will and look
+at the masks and enter the lodge and view the sand painting. Hasjelti
+and Hostjoboard returned to the lodge, carrying their masks in their
+hands.</p>
+
+<p>About an hour after the ceremony of the initiation of the children a
+large buffalo robe was spread on the avenue with his head to the east,
+around which a circle of some hundred feet in diameter was formed by
+horsemen and pedestrians who gathered, eager to witness the outdoot
+ceremony. The theurgist and invalid were seated outside of the lodge,
+south of the entrance. The dieties personated in this occasion were the
+gods Hasjelti and Taadotjaii, and the goddess Tebahdi. Haskjelti wore
+black velvet and silver ornaments, with red silk scarf around the waist.
+Taadotjaii was nude, his body being painted a reddish color. The limbs
+and body were zigzagged with white, representing lightning and downy
+breast feathers of the eagle, and in his right hand a gourd rattle
+devoid of ornamentation. Yebahdi wore the ordinary squaw’s dress and
+moccasins, with many silver ornaments, and a large blanket around her
+shoulders touching the ground. Hasjelti approached dancing, and
+sprinkled meal over the buffalo robe, and the invalid stood upon the
+robe. Hasjelti, followed by Zaadoltjaii, again entered the circle and
+sprinkled meal upon the robe. The goddess Yebahdi following, stood
+within the circle some 20 feet from the robe on the east side and facing
+west. Hasjelti, amidst hoots and anties, sprinkled meal upon the
+invalid, throwing both his hands upward. Immediately Zaadoltjaii, with
+arrow in the left hand and rattle int he right, threw both hands up over
+the invalid amidst hoots and antics. They then passed to Yebahdi, who
+holds with both hands a basket containing the two yellow ears of corn
+wrapped with pine twigs that were used in the children’s ceremony, and
+indulged in similar antics over the goddess. As each representative of
+the gods threw up his hands she raised her basket high above and in
+front of her head. Hasjelti, together with Zaadoltjaii and Yebahdi, then
+passed around within the circle to the other three points of the
+compass. At each point Yebahdi took her position about 20 feet from the
+buffalo robe, when Hasjelti and Zaadoltjhaii repeated their performance
+over the invalid and then over Yebahdi each time she elevated the
+basket. The invalid then entered the lodge, followed by the
+representatives of the gods, who were careful to remove their masks
+before going in. The invalid sat on the cornstalk in the center of the
+sand painting, facing east. Zaadoltjaii stepped upon the painting, and
+taking the little medicine gourd from the hands of the rainbow goddess,
+dipped the cedar twig into the
+<a name="page269" id="page269"> </a>
+medicine water and sprinkled the painting, beginning at the south side.
+Zaadoltjaii gave the invalid a draft from the gourd, and waving the
+gourd from left to right formed a circle, amidst the wildest cries. He
+gave three more drafts to the invalid, each time waving the gourd around
+the invalid with a wave toward the east. He then placed the palm of his
+hand over the feet of all the figures, beginning with the figure at the
+south end, west side; running up that line he began with the figure on
+the north end east side, running down that line; he then placed his
+hands to the soles of the feet of the invalid, hooting twice; then the
+heart of the invalid was touched in the same manner with the palm of the
+right hand, the left hand being placed to his back. The body was pressed
+in this way four times amid loud cries. This was repeated upon the
+invalid. After touching each figure of the painting, the right hand was
+placed to the forehead of the invalid and the left hand to the back of
+the head, and the head pressed in this way on all sides. The song-priest
+put live coals before the invalid and upon them sprinkled tobacco and
+water, the fumes of which the invalid inhaled. An attendant then threw
+the coals out of the fire opening, and the song-priest gathered the
+twelve turkey wands from around the painting while the inmates of the
+lodge hastened forward to press their hands upon what remained of the
+figures, then drawing a breath from their hands, they pressed them upon
+their bodies that they might be cured of any infirmities, moral or
+physical, after which four men gathered at the points of the compass and
+swept the sand to the center of the painting, and placing it in a
+blanket deposited it a short distance from the lodge.</p>
+
+
+
+
+<h4 class="chapter"><a name="day9" id="day9">
+NINTH DAY.</a></h4>
+
+
+<h5 class="section"><a name="day9_first" id="day9_first">
+FIRST CEREMONY.</a></h5>
+
+<p>The final decoration of masks with ribbons, plumes, etc., began at
+sunrise and consumed most of the morning. About noon two sticks 1 inch
+in diameter and 6 inches long were colored; one, of piñon, was painted
+black, the other, of cedar, was colored red. Three medicine tubes were
+made, one black, one red, and one blue. These were placed in a basket
+half filled with meal; the basket stood in the niche behind the
+song-priest. Two men personated Naiyenesgony and Tobaidischinni.
+Naiyenesgony’s body was painted black (from the embers of a burnt weed
+of which specimens were procured) and on the outside of his legs below
+the knee, on the upper arms, breast and scapula were bows in white but
+without arrows. Tobaidischinni had his body painted with the scalp knot
+in white in relative positions to the bows on Naiyenesgony. A&nbsp;third
+man, personating the turquois hermaphrodite Ahsonnutli, wore the usual
+squaw’s dress with a blanket fastened over the shoulders reaching to the
+ground. Her mask was blue. The three left the lodge carrying their masks
+in their hands. Passing some distance down the avenue to the east they
+put on their masks and returned to the lodge.
+<a name="page270" id="page270"> </a>
+A&nbsp;buffalo robe had been spread in front of the lodge. Just as the
+maskers returned, the invalid, wrapped in a fine red Navajo blanket and
+bearing a basket of sacred meal, stepped upon the robe; he had before
+stood in front of the lodge by the side of the song-priest. The many
+spectators on foot and horseback clad in their rich blankets formed a
+brilliant surrounding for this ceremony, which took place just at the
+setting of the son. Naiyenesgony carried in his right hand a large lava
+celt which was painted white. Tobaidischinni followed next carrying in
+his right hand the black wood stick which had been prepared in the
+morning, and in his left hand the red stick. Ahsonnutli followed with
+bow and arrow in the left hand and an arrow in the right with a quiver
+thrown over the shoulder.</p>
+
+<p>Naiyenesgony drew so close to the invalid that their faces almost
+touched and pointed his celt toward the invalid. Tobaidischinni then
+approached and in the same manner pointed the sticks toward him, after
+which he was approached by Ahsonnutli with her bow and arrows. This was
+repeated on the south, west, and north sides of the invalid; each time
+the invalid partially turned his arm, shoulder, and back to sprinkle
+meal upon the gods. The gods then rushed to the entrance of the medicine
+lodge repeating the ceremony there, when they hurried to the south side
+of the lodge (the invalid having returned to the lodge; the buffalo robe
+was carried in by an attendant). The gods went from the south side of
+the lodge to the west and then to the north performing the same
+ceremony. As the invalid had spent many days in the lodge and the
+disease at each day’s ceremony exuded from his body, it was deemed
+necessary that these gods should go to the four points of the compass
+and draw the disease from the lodge. When they entered the lodge the
+buffalo robe had been spread in front of the song-priest with its head
+north. Upon this robe each god knelt on his left knee, Naiyenesgony on
+the north end of the robe, Ahsonnutli on the south end, and
+Tobaidischinni between them, all facing east. The song-priest, followed
+by the invalid, advanced to the front of the line carrying the basket
+containing the medicine tubes. He sprinkled Naiyenesgony with corn
+pollen, passing it up the right arm over the head and down the left arm
+to the hand. He placed the black tube in the palm, of the left hand of
+the god, the priest chanting all the while a prayer. The red tube was
+given with the same ceremony to Tobaidischinni, and the blue tube with
+the same ceremony to Ahsonnutli. The quiver was removed from Ahsonnutli
+before she knelt. The song-priest, kneeling in front of Naiyenesgony,
+repeated a long litany with responses by the invalid, when the gods left
+the lodge led by Naiyenesgony who deposited his tube and stick in a
+piñon tree, Tobaidischinni depositing his in a cedar tree, and
+Ahsonnutli hers in the heart of a shrub.</p>
+
+
+<h5 class="section"><a name="day9_second" id="day9_second">
+SECOND CEREMONY.</a></h5>
+
+<p>The scene was a brilliant one. Long before the time for the dance a
+line of four immense fires burned on each side of the avenue where the
+<a name="page271" id="page271"> </a>
+dance was to take place, and Navajo men and women clad in their bright
+colored blankets and all their rare beads and silver encircled each
+fire. Logs were piled 5 or 6 feet high. In addition to these eight fires
+there were many others near and far, around which groups of gamblers
+gathered, all gay and happy. Until this night no women but those who
+carried food to the lodge had been present at any of the ceremonies
+except at the initiation of the children. To say that there were 1,200
+Navajo would be a moderate calculation. This indeed was a picture never
+to be forgotten. Many had been the objections to our sketching and
+writing, but throughout the nine days the song-priest stood steadfastly
+by us. One chief in particular denounced the theurgist for allowing the
+medicine to be put on paper and carried to Washington. But his words
+availed nothing. We were treated with every consideration. We were
+allowed to handle the masks and examine them closely, and at times the
+artists working at the sand painting really inconvenienced themselves
+and allowed us to crowd them that we might observe closely the many
+minute details which otherwise could not have been perceived, as many of
+their color lines in the skirt and sash decorations were like threads.
+The accompanying sketches show every detail.</p>
+
+<p>The green or dressing room was a circular inclosure of pine boughs at
+the end of the avenue. It was about 10 feet high by 20 feet in diameter
+made of piñon branches with their butts planted in the ground, their
+tops forming a brush or hedge. Within this inclosure the masks were
+arranged in a row on the west side. A&nbsp;large fire burned in the
+center affording both heat and light. The different sets, when a change
+of dress from one set of men to another was to be made, repaired to this
+green room for that purpose. This inclosure was also the resort during
+the night for many Indians who assisted the dancers in their
+toilets.</p>
+
+<p>At 10 o’clock the ceremonies opened by the entrance upon the avenue
+of the song-priest who came from the green room. He wore a rich red
+blanket and over this a mountain lion skin; immediately after him
+followed Hasjelti, leading the four Etsethle (the first ones). These
+represented first, natan (corn); second, natin (rain); third, nanase
+(vegetation); fourth, jadetin (corn pollen). Their masks were blue
+ornamented with feathers and were similar to the masks worn by the
+dancers; their bodies were painted white with many rare beads around
+their necks, and they wore loin skirts with silver belts; a&nbsp;gray
+fox skin was attached pendant to the back of the belt, and blue
+stockings, tied with red garters, and moccasins completed their dress.
+They carried in their right hands gourd rattles painted white. The
+handles of these may be of any kind of wood, but it must be selected
+from some tree near which lightning has struck, but not of the wood of
+the tree struck by lightning. Corn pollen was in the palms of their left
+hands and in the same hand they carried also a piñon bough. Hasjelti
+wore a suit of velvet ornamented with silver buttons; he never speaks
+except by signs. They
+<a name="page272" id="page272"> </a>
+advanced single file with a slow regular step and when within 20 feet of
+the lodge the priest turned and faced Hasjelti and repeated a short
+prayer, when the Etsethle sang.</p>
+
+
+<h6><a name="day9_second_song" id="day9_second_song">
+SONG OF THE ETSETHLE.</a></h6>
+
+<div class="poem">
+<p>From below (the earth) my corn comes</p>
+<p class="inset">I walk with you.</p>
+<p>From above water young (comes)</p>
+<p class="inset">I walk with you.</p>
+<p>From above vegetation (comes to the earth)</p>
+<p class="inset">I walk with you.</p>
+<p>From below the earth corn pollen comes</p>
+<p class="inset">I walk with you.</p>
+</div>
+
+<p>These lines are repeated four times. The first line indicates that
+corn is the chief subsistence; the second, that it is necessary to pray
+to Hasjelti that the earth may be watered; the third, that the earth
+must be embraced by the sun in order to have vegetation; the fourth,
+that pollen is essential in all religious ceremonies. The Etsethle
+signify doubling the essential things by which names they are known,
+corn, grain, etc., they are the mystic people who dwell in canyon sides
+unseen. After the song the invalid with meal basket in hand passed
+hurriedly down the line of gods and sprinkled each one with meal,
+passing it from the right hand up to the right arm, to the head then
+down the left arm to the hand, placing a pinch in the palm of the left
+hand. The invalid then returned and stood to the north side of Hasjelti
+who was to the left of the song-priest. The theurgist stood facing natan
+(corn) and offered a prayer which was repeated by the invalid.
+Continency must be observed by the invalid during the nine days
+ceremonial and for four days thereafter.</p>
+
+
+<h6><a name="day9_second_prayer" id="day9_second_prayer">
+PRAYER TO THE ETSETHLE.</a></h6>
+
+<p>“People, you come to see us; you have a house in the heart of the
+rocks; you are the chief of them; you are beautiful. Come inside of our
+houses. Your feet are white; come into our house! Your legs are white;
+come into our house! Your bodies are white; come into our house! Your
+face is white; come into our house! Old man, this world is beautiful;
+the people look upon you and they are happy. This day let all things be
+beautiful.”</p>
+
+<p>This prayer is repeated many times, merely substituting for old man
+old woman, then youth, young girl, boy, then all children. The old man
+and woman spoken of are not the first old man and woman in the myth of
+the old man and woman of the first world. After the prayer the
+song-priest and invalid took seats by the entrance of the lodge.
+Hasjelti took his position to the west end and to the north of the line
+of the Etsethle. He remained standing while the four slowly raised
+<a name="page273" id="page273"> </a>
+the right foot squarely from the ground, then on the toe of the left
+foot, which motion shook the rattle. In a short time Hasjelti passed
+down the line hooting. He passed around the east end, then returned up
+the north side to his former position, and again hooting, resumed the
+leadership of the Etsethle, who gave a long shake of the rattle as soon
+as Hasjelti stood in front of them. They then followed their leader to
+the dressing room.</p>
+
+
+<h5 class="section"><a name="day9_concl" id="day9_concl">
+CONCLUSION&mdash;THE DANCE.</a></h5>
+
+<p>The song-priest having returned to the green room, emerged therefrom,
+followed by Hasjelti, who carried a fawn skin partially filled with
+meal, and by twelve dancers and Hostjoghon, holding in each hand a
+feather wand. The twelve dancers represented the old man and woman six
+times duplicated. Hasjelti led the dancers and Hostjoghon followed in
+the rear. When they came near the lodge the song-priest turned and faced
+the dancers, and being joined by the invalid, he led him down the line
+of dancers on the north side, the invalid carrying a sacred meal basket,
+and sprinkled the right side of each dancer. The song-priest and invalid
+then returned to their seats in front of the lodge. Hasjelti passed down
+the line on the north side and joined Hostjoghon at the east end of the
+line, both then passing to the west end, where each one endeavored to be
+the first to stamp twice upon the ground immediately in front of the
+leading dancer. This double stamp is given with hoots, and they then
+returned down the line to the center, when Hasjelti dashes back to the
+west end, clasping the throat of the fawn skin with his right hand and
+holding the legs with his left, with both his arms extended to the
+front. Hostjoghon extending his hands with the feather wands in them,
+they point the head of the skin and tops of the wands directly in front
+of them as they stand facing each other, hooting at the same time.
+Reversing sides by dashing past each other, Hasjelti points his fawn
+skin to the east while Hostjoghon points his wands to the west. They
+then return to their respective positions as leader and follower.</p>
+
+<p>After the dance begins Hasjelti passes down the north side and joins
+Hostjoghon at the east end of the dancers, Hasjelti keeping to the north
+side of Hostjoghon. Three of the men, representing women, were dressed
+in Navajo squaw dresses and three of them in Tusayan squaw dresses; they
+held their arms horizontally to the elbow and the lower arm vertically,
+and, keeping their feet close together, raised themselves simultaneously
+on their toes. The dance was begun in single file, the men raising only
+their right feet to any height and balancing on the left. After a minute
+or two the line broke, the women passing over to the north side and the
+men to the south side; almost instantaneously, however, they grouped
+into a promiscuous crowd, women carrying a pine twig in each hand and
+the men a gourd rattle in the right hand and a pine twig in the left.
+The men’s bodies were
+<a name="page274" id="page274"> </a>
+painted white and were nude, excepting the silk scarfs and mountain lion
+and other skins worn around the loins. Just before the stamping of the
+feet in the beginning of the dance, a&nbsp;rattle was shaken by all the
+male dancers, which was the signal for a peculiar back motion of the
+right arm and body and one which preceded the actual dancing. The six
+males lean their bodies to the right side extending the right hand
+backward, and then bringing it forward in a circular under sweep around
+to the mouth with a hoot. They then turn and face the east, and bending
+their bodies toward the south perform the same motion as before, when
+they turn to the west and repeat it in that direction. At the same time
+the leader and follower repeat their peculiar performance with the fawn
+skin and wands to the east and west. Dancing promiscuously for a few
+moments to song and rattle, the men representing women singing in
+feminine tones, they form again in two lines, the women as before on the
+north side. The man at the west end of the male line and the woman at
+the same end of the female line, meeting each other midway between the
+lines she passes her right arm through the arm of her partner, his arm
+being bent to receive it; they pass between the line and are met a short
+distance from the other end of the line by Hasjelti and Hostjoghon, who
+dance up to meet them, the movement resembling closely the old-fashioned
+Virginia reel. The couple then dance backward between the lines to their
+starting point, then down again, when they separate, the man taking his
+place in the rear of the male line and the woman hers in the rear of the
+female line. This couple starting down the second time, the man and
+woman immediately next in line lock arms and pass down in the same
+manner, Hasjelti and Hostjoghon scarcely waiting for the first couple to
+separate before dancing up to meet the second couple; the remaining
+couples following in like order until the first couple find themselves
+in their former position at the head of the line. Now a group dance is
+indulged in for a minute or two when lines are again formed, and a
+second figure exactly like the first is danced. This figure was again
+repeated without variation, after which the men and women fell into
+single file, and, led by Hasjelti and followed by Hostjoghon, left the
+dancing ground. They did not go to the green, however, but moved off a
+short distance to rest for a moment and returned. Upon each return the
+invalid passed down the line on the north side sprinkling each dancer
+with meal, Hasjelti and Hostjoghon performing with the fawn skin and
+wands. This dance of four figures was repeated twelve times, each time
+the dancers resting but a moment. After the twelve dances the dancers
+passed to the green room, where they were relieved by a second set of
+men. The second series of dances were exactly like the first. There were
+twenty-one dances, four figures in each dance, and each time the dancers
+appeared they were sprinkled with meal by the invalid, while Hasjelti
+and Hostjoghon performed their antics with fawn skin and wands. The
+third series embraced all the dances
+<a name="page275" id="page275"> </a>
+exactly like the above. The fourth series embraced nineteen dances. The
+only variation in this was that the leaders were often more clownish in
+their performances, and upon several occasions only four men
+representing women appeared. In this case two men danced together. Some
+of the dancers dropped out from weariness, which caused diminution in
+some of the sets. The last dance closed at the first light of day. The
+song-priest had preceded the last dancers to the green room and awaited
+their arrival to obtain the masks, which were his special property.</p>
+
+
+<h4 class="chapter"><a name="myths" id="myths">
+MYTHS OF THE NAVAJO.</a></h4>
+
+
+<h5 class="section"><a name="myths_creation" id="myths_creation">
+CREATION OF THE SUN.</a></h5>
+
+<p>The first three worlds were neither good nor healthful. They moved
+all the time and made the people dizzy. Upon ascending into this world
+the Navajo found only darkness and they said “We must have light.”</p>
+
+<p>In the Ute Mountain lived two women, Ahsonnutli, the turquoise
+hermaphrodite, and Yolaikaiason, the white-shell woman. These two women
+were sent for by the Navajo, who told them they wished light. The Navajo
+had already partially separated light into its several colors. Next to
+the floor was white indicating dawn, upon the white blue was spread for
+morning, and on the blue yellow for sunset, and next was black
+representing night. They had prayed long and continuously over these,
+but their prayers had availed nothing. The two women on arriving told
+the people to have patience and their prayers would eventually be
+answered.</p>
+
+<p>Night had a familiar, who was always at his ear. This person said,
+“Send for the youth at the great falls.” Night sent as his messenger a
+shooting star. The youth soon appeared and said, “Ahsonnutli, the
+ahstjeohltoi (hermaphrodite), has white beads in her right breast and
+turquoise in her left. We will tell her to lay them on darkness and see
+what she can do with her prayers.” This she did.<a class="tag" name="tag6b" id="tag6b" href="#note6b">6</a> The youth from the great falls
+said to Ahsonnutli, “You have carried the white-shell beads and
+turquoise a long time; you should know what to say.” Then with a crystal
+dipped in pollen she marked eyes and mouth on the turquoise and on the
+white-shell beads, and forming a circle around these with the crystal
+she produced a slight light from the white-shell bead and a greater
+light from the turquoise, but the light was insufficient.</p>
+
+<p>Twelve men lived at each of the cardinal points. The forty-eight men
+were sent for. After their arrival Ahsonnutli sang a song, the men
+sitting opposite to her; yet even with their presence the song failed to
+secure the needed light. Two eagle plumes were placed upon each cheek of
+the turquoise and two on the cheeks of the white-shell beads
+<a name="page276" id="page276"> </a>
+and one at each of the cardinal points. The twelve men of the east
+placed twelve turquoises at the east of the faces. The twelve men of the
+south placed twelve white-shell beads at the south. The twelve men of
+the west placed twelve turquoises at the west. Those of the north placed
+twelve white-shell beads at that point. Then with the crystal dipped in
+corn pollen they made a circle embracing the whole. The wish still
+remained unrealized. Then Ahsonnutli held the crystal over the turquoise
+face, whereupon it lighted into a blaze. The people retreated far back
+on account of the great heat, which continued increasing. The men from
+the four points found the heat so intense that they arose, but they
+could hardly stand, as the heavens were so close to them. They looked up
+and saw two rainbows, one across the other from east to west, and from
+north to south. The heads and feet of the rainbows almost touched the
+men’s heads. The men tried to raise the great light, but each time they
+failed. Finally a man and woman appeared, whence they knew not. The
+man’s name was Atseatsine and the woman’s name was Atseatsan. They were
+asked “How can this sun be got up.” They replied, “We know; we heard the
+people down here trying to raise it, and this is why we came.”
+“Chanteen” (sun’s rays), exclaimed the man, “I&nbsp;have the chanteen;
+I&nbsp;have a crystal from which I can light the chanteen, and I have
+the rainbow; with these three I can raise the sun.” The people said, “Go
+ahead and raise it.” When he had elevated the sun a short distance it
+tipped a little and burned vegetation and scorched the people, for it
+was still too near. Then the people said to Atseatsine and Atseatsan,
+“Raise the sun higher,” and they continued to elevate it, and yet it
+continued to burn everything. They were then called upon to “lift it
+higher still, as high as possible,” but after at certain height was
+reached their power failed; it would go no farther.</p>
+
+<p>The couple then made four poles, two of turquoise and two of
+white-shell beads, and each was put under the sun, and with these poles
+the twelve men at each of the cardinal points raised it. They could not
+get it high enough to prevent the people and grass from burning. The
+people then said, “Let us stretch the world;” so the twelve men at each
+point expanded the world. The sun continued to rise as the world
+expanded, and began to shine with less heat, but when it reached the
+meridian the heat became great and the people suffered much. They
+crawled everywhere to find shade. Then the voice of Darkness went four
+times around the world telling the men at the cardinal points to go on
+expanding the world. “I&nbsp;want all this trouble stopped,” said
+Darkness; “the people are suffering and all is burning; you must
+continue stretching.” And the men blew and stretched, and after a time
+they saw the sun rise beautifully, and when the sun again reached the
+meridian it was only tropical. It was then just right, and as far as the
+eye could reach the earth was encircled first with the white dawn of
+day, then with the blue of early morning, and all things were perfect.
+<a name="page277" id="page277"> </a>
+And Ahsonnutli commanded the twelve men to go to the east, south, west,
+and north, to hold up the heavens (Yiyanitsinni, the holders up of the
+heavens), which office they are supposed to perform to this day.</p>
+
+
+<h5 class="section"><a name="myths_hasj" id="myths_hasj">
+HASJELTI AND HOSTJOGHON.</a></h5>
+
+<p>Hasjelti and Hostjoghon were the children of Ahsonnutli, the
+turquoise, and Yolaikaiason (white-shell woman, wife of the sun).
+Ahsonnutli placed an ear of white corn and Yolaikaiason an ear of yellow
+corn on the mountain where the fogs meet. The corn conceived, the white
+corn giving birth to Hasjelti and the yellow corn to Hostjoghon. These
+two became the great song-makers of the world. They gave to the mountain
+of their nativity (Henry Mountain in Utah) two songs and two prayers;
+they then went to Sierra Blanca (Colorado) and made two songs and
+prayers and dressed the mountain in clothing of white shell with two
+eagle plumes placed upright upon the head. From here they visited San
+Mateo Mountain (New Mexico) and gave to it two songs and prayers, and
+dressed it in turquoise, even to the leggings and moccasins, and placed
+two eagle plumes on the head. Hence they went to San Francisco Mountain
+(Arizona) and made two songs and prayers and dressed that mountain in
+abalone shells with two eagle plumes upon the head. They then visited
+Ute Mountain and gave to it two songs and prayers and dressed it in
+black beads. This mountain also had two eagle plumes on its head. They
+then returned to the mountain of their nativity to meditate, “We two
+have made all these songs.”</p>
+
+<p>Upon inquiring of their mothers how they came into existence, and
+being informed, they said, “Well, let our number be increased; we can
+not get along with only two of us.” The woman placed more yellow and
+white corn on the mountain and children were conceived as before.
+A&nbsp;sufficient number were born so that two brothers were placed on
+each of the four mountains, and to these genii of the mountains the
+clouds come first. All the brothers consulted together as to what they
+should live upon and they concluded to make game, and so all game was
+created.</p>
+
+<p>Navajo prayers for rain and snow are addressed to Hasjelti and
+Hostjoghon. These gods stand upon the mountain tops and call the clouds
+to gather around them. Hasjelti is the mediator between the Navajo and
+the sun. He prays to the sun, “Father, give me the light of your mind,
+that my mind may be strong; give me some of your strength, that my arm
+may be strong, and give me your rays that corn and other vegetation may
+grow.” It is to this deity that the most important prayers of the Navajo
+are addressed. The lesser deities have shorter prayers and less valuable
+offerings made to them. Hasjelti communicates with the Navajo through
+the feathered kingdom, and for this reason the choicest feathers and
+plumes are placed in the cigarettes and attached to the prayer sticks
+offered to him.</p>
+
+<p>
+<a name="page278" id="page278"> </a>
+</p>
+
+<h5 class="section"><a name="myths_logs" id="myths_logs">
+THE FLOATING LOGS.</a></h5>
+
+<p>A man sat thinking, “Let me see; my songs are too short; I&nbsp;want
+more songs; where shall I go to find them?” Hasjelti appeared and,
+perceiving his thoughts, said, “I&nbsp;know where you can go to get more
+songs.” “Well, I&nbsp;much want to get more, and I will follow you.”
+When they reached a certain point in a box canyon in the Big Colorado
+River they found four gods (the Hostjobokon) at work hewing logs of
+cottonwood. Hasjelti said, “This will not do; cottonwood becomes
+water-soaked; you must use pine instead of cottonwood.” The Hostjobokon
+then began boring the pine with flint, when Hasjelti said, “That is slow
+work,” and he commanded the whirlwind to hollow the log.
+A&nbsp;Jerusalem cross was formed with one solid log and a hollow one.
+The song-hunter entered the hollow log and Hasjelti closed the end with
+a cloud, that the water of the river might not enter when the logs were
+launched upon the great waters. The Hostjobokon, accompanied by their
+wives, rode upon the logs, a&nbsp;couple sitting on the end of each
+cross arm. These were accompanied by Hasjelti, Hostjoghon, and two
+Naaskiddi, who walked on the banks to ward the logs off from the shore.
+Hasjelti carried a squirrel skin filled with tobacco from which to
+supply the gods on their journey. Hostjoghon carried a staff ornamented
+with eagle and turkey plumes and a gaming ring with two humming birds
+tied to it with white cotton cord. The two Naaskiddi carried staffs of
+lightning.<a class="tag" name="tag7b" id="tag7b" href="#note7b">7</a> After floating a long distance down the river they came
+to waters that had a shore on one side only, and they landed. Here they
+found people like themselves. These people, on learning of the
+song-hunter’s wish, gave to him many songs and they painted pictures on
+a cotton blanket and said, “These pictures must go with the songs. If we
+give this blanket to you you will lose it. We will give you white earth
+and black coals which you will grind together to make black paint, and
+we will give you white sand, yellow sand, and red sand, and for the blue
+paint you will take white sand and black coals with a very little red
+and yellow sand. These together will give you blue.<a class="tag" name="tag8b" id="tag8b" href="#note8b">8</a>”</p>
+
+<p>The song-hunter remained with these people until the corn was ripe.
+There he learned to eat corn and he carried some back with him to the
+Navajo, who had not seen corn before, and he taught them how to raise it
+and how to eat&nbsp;it.</p>
+
+<p>As the logs would not float upstream the song-hunter was conveyed by
+four sunbeams, one attached to each end of the cross-logs, to the box
+canyon whence he emerged. Upon his return he separated the logs, placing
+an end of the solid log into the hollow end of the other and planted
+this great pole in the river, whereto this day it is to be seen by those
+so venturesome as to visit this point.</p>
+
+<p>
+<a name="page279" id="page279"> </a>
+The old song priest who related this myth to me regretted that so few of
+his people now visited the sacred spot.</p>
+
+<p>“When I was young,” he said, “many went there to pray and make
+offerings.”</p>
+
+
+<h5 class="section"><a name="myths_naiyen" id="myths_naiyen">
+NAIYENESGONY AND TOBAIDISCHINNI.</a></h5>
+
+<p>This world was destroyed five times. The first time by a whirlwind;
+the second, by immense hail stones; the third, by smallpox, when each
+pustule covered a whole cheek; the fourth, all was destroyed by
+coughing; the fifth time Naiyenesgony and Tobaidischinni went over the
+earth slaying all enemies.</p>
+
+<p>These two boys were born at Tohatkle (where the waters are mated),
+near Ute Mountain, in Utah; they were the children of Ahsonnutli.
+Ahsonnutli and Yolaikaiason (the white-shell woman) were the creators of
+shells. Ahsonnutli had a beard under her right arm and Yolaikaiason had
+a small ball of flesh under her left arm from which they made all
+shells. The eyes of Naiyenesgony and Tobaidischinni were shells placed
+on their faces by Ahsonnutli; the shells immediately becoming brilliant
+the boys could look upon all things and see any distance without their
+eyes becoming weary. A&nbsp;stick colored black was placed to the
+forehead of Naiyenesgony and one colored blue to that of Tobaidischinni.
+When Naiyenesgony shook his head the stick remained firm on the
+forehead, but he felt something in the palm of his hand, which proved to
+be three kinds of seeds, and he said, “We must go by this.” When
+Tobaidischinni shook his head the stick dropped off the forehead and
+they thought a long time and said, “We must go by this.” This is why the
+deer sheds his horns. In ceremonials the breath is drawn from sticks
+which are made to represent the originals; the sticks are also held to
+wounds as a curative.</p>
+
+<p>These two boys grew from infancy to manhood in four days and on the
+fourth day they made bows and arrows; on the fifth day they began using
+them. Although they were the children of Ahsonnutli they did not know
+her as their mother, but supposed her to be their aunt. Frequently they
+inquired of her where they could find their father. She always told them
+to stop their inquiries, for they had no father. Finally they said to
+her, “We know we have a father and we intend to go and look for him.”
+She again denied that they had a father, but they were determined and
+they journeyed far to the east and came to the house of the sun. The
+house was of white shell, and the wife of the sun (Yolaikaiason) was
+also of white shell. The wife inquired of the youths where they were
+from, and, said she, “What do you want here?” They replied, “We came to
+hunt our father.” When the sun returned to his home in the evening he
+discovered the youths as soon as he entered his house and he asked,
+“Where are those two boys from?” The wife replied, “You say you never do
+anything wrong when you travel; these two boys call you father and I
+know they are your children.” The wife
+<a name="page280" id="page280"> </a>
+was very angry. The sun sent the boys off a distance and threw a great
+roll of black clouds at them intending to kill them, but they were not
+injured, and they returned to the house. He then pushed them against a
+sharp stone knife, but they slipped by uninjured. Four times they were
+thrust against the knife, but without injury. The sun finding his
+attempts unsuccessful said, “It is so, you are my sons.” The sun then
+ordered Hasjelti and Toneennili (these two were special attendants upon
+the sun) to build a sweat house and put the boys in, that they might die
+from the heat. Toneennili made an excavation inside of the sweat house,
+put the boys into the hole, and placed a rock over the hole and built a
+fire over the rock. When the rock became very hot the sun ordered
+Toneennili to sprinkle it four times with water, being careful to keep
+the entrance to the sweat house closely covered. After a time he
+uncovered the entrance and removing the rock the sun commanded the boys
+to come out. He did not expect to be obeyed, as he thought and hoped the
+boys were dead, but they came out unharmed. The sun then said, “You are
+indeed my own children; I&nbsp;have tried in vain to destroy you.” The
+boys wished to return to the woman whom they supposed to be their aunt.
+Before departing the sun asked them what they wished; they said, “We
+want bows and arrows, knives, and good leggings. There are people around
+the world eating our people (the Navajo). Some of these people are great
+giants and some are as small as flies; we wish to kill them with
+lightning.” The sun gave the youths clothing that was invulnerable, and
+he gave them lightning with which to destroy all enemies, and a great
+stone knife. They then went over the world. Naiyenesgony killed with the
+lightning arrows and Tobaidischinni scalped with his knife. After all
+enemies had been destroyed Naiyenesgony and Tobaidischinni said to the
+Navajo, “Now we will leave you and return to our home in the Ute
+Mountains, where the waters are mated, but before leaving you we will
+give to you the ten songs and prayers that will bring health and good
+fortune to your people. Tobaidischinni is the parent of all waters.”</p>
+
+
+<h5 class="section"><a name="myths_brothers" id="myths_brothers">
+THE BROTHERS.</a></h5>
+
+<p>The Tolchini (a Navajo clan) lived at Wind Mountain. One of the
+brothers became crazy and he went off a long way, and on his return
+brought with him a pine bough; a&nbsp;second time he returned with corn,
+and from each trip he brought something new and had a story to tell
+about it. His brothers would not believe him, and said, “He is crazy; he
+does not know what he is talking about.” The brothers, however, became
+very jealous of him, and constantly taunted him with being a crazy liar.
+The Tolchini left the Wind Mountain and went to a rocky foothill east of
+San Mateo Mountain. They had nothing to eat but a kind of seed grass.
+The eldest brother said, “Let us go hunt,” and told the crazy brother
+not to leave the camp. But after five days and nights and no word coming
+from the brothers he determined to follow
+<a name="page281" id="page281"> </a>
+them and help them, bring home the game; he thought they had killed more
+deer than they could carry. After a day’s travel he camped near a
+canyon, selecting a cavelike place in which to sleep, for he was tired
+and thirsty. There was much snow, but no water, so he made a fire and
+heated a rock and made a hole in the ground, and placing the rock in the
+cavity put in some snow, which melted and furnished him a draft to
+quench his thirst. Just then he heard a tumult over his head like people
+passing and he went out to see who made the noise, and he discovered
+many crows crossing back and forth over the canyon. This was the home of
+the crow. There were other feathered people also (the chaparral cock was
+among them). He saw also many fires which had been made by the crows on
+either side of the canyon. Two other crows arrived and stood near him
+and he listened hard to hear all that was being said. These two crows
+cried out, “Somebody says, somebody says.” The youth did not know what
+to make of this. Then, a&nbsp;crow from the opposite side of the canyon
+called, “What is the matter; tell us, tell us; what is wrong?” The two
+first criers then said, “Two of us got killed; we met two men who told
+us. They said the two men, who were all the time traveling around
+(referring to the two brothers of the crazy youth), killed twelve deer
+and a party of our people went to the deer after they were killed. Two
+of us who went after the blood of the deer were shot.” The crows on the
+other side of the canyon, called, “Which men got killed?” The first
+crier replied, “The chaparral cock, who sat on the horn of the deer, and
+the crow, who sat on its backbone.” The other called out, “We are not
+surprised that they were killed; that is what we tell you all the time.
+If you will go after the dead deer you must expect to be killed.” “We
+will not think of them longer; they are dead and gone. We are talking of
+things of long ago.” The younger brother sat quietly below and listened
+to everything that was being said.</p>
+
+<p>After a time the crows on the other side of the canyon made a great
+noise and began to dance. They had many songs at that time. The youth
+could not see what they were doing, but he listened all the time. After
+the dance began a great fire was made, and then he could see black
+objects moving, but he could not distinguish any people. He recognized
+the voice of Hasjelti. Though the youth was crazy, he remembered
+everything in his heart. He even remembered the words of the songs that
+continued all the night; he remembered every word of every song. He said
+to himself, “I&nbsp;will listen until daylight.” These people did not
+remain on one side of the canyon where the first fires were built, but
+they crossed and recrossed in their dance and had fires on both sides of
+the canyon. They danced back and forth until daylight (on&nbsp;the ninth
+night of the Hasjelti Dailjis was a repetition of this dance), when all
+the crows and the other birds flew away to the west. All that he saw
+after they left was the fires and smoke. The crazy youth then started
+off in a run to his brothers’ camp to tell what he had seen and heard.
+His
+<a name="page282" id="page282"> </a>
+brothers were up early and saw the boy approaching. They said,
+“I&nbsp;bet he will have lots of stories to tell. He will say he saw
+something no one ever saw, or somebody jumped on him.” And the
+brother-in-law who was with them said, “Let him alone; when he comes
+into camp he will tell us all, and I believe these things do happen, for
+he could not make up these things all the time.”</p>
+
+<p>The camp was surrounded by piñon brush and a large fire burned in the
+center of the inclosure; there was much meat roasting over the fire. As
+soon as the youth reached the camp he raked over the coals and said,
+“I&nbsp;feel cold.” The brother-in-law replied, “It is cold. When people
+camp together they tell stories to one another in the mornings; we have
+told ours and we must now hear yours.” The youth related his experiences
+of the past night. He said, “Where I stopped last night was the worst
+camp I ever had.” The brothers kept their backs to the youth and
+pretended not to pay any attention, but the brother-in-law listened and
+questioned him. He continued, “I&nbsp;never heard such a noise.” The
+brothers then remarked, “I&nbsp;thought he would say something like
+that” (they were jealous of this crazy brother, he saw so much they
+could not see). The brother-in-law was inclined to believe the youth’s
+story and asked what kind of people made the noise. “I&nbsp;do not know.
+They were strange people to me, but I do know they danced all night back
+and forth across the canyon, and I know my brothers killed twelve deer,
+and afterwards killed two of their people who went for the blood of the
+deer. I&nbsp;heard them say, ’That is what must be expected if you will
+go to such places you must expect to be killed.’” The elder brother
+began thinking and without turning toward the youth asked, “How many
+deer did you say were killed?” and he answered “twelve.” Then the older
+brother said, “Well, sir, you have told me many stories and I never
+believed you, but this story I do believe. What is the matter with you
+that you know all these things? How do you know these things and find
+out these things?” The youth replied, “I&nbsp;do not know how, but all
+these things come to my mind and my eyes.” The elder brother said,
+“I&nbsp;will now give more thought to you and study how you find out all
+about these things. We have a lot of meat and we did not know how to get
+it home; now that you have come let us return; you shall carry the
+meat.” When halfway home they were about to descend a mesa, and when on
+the edge they sat down to rest; then they saw far down the mesa four
+mountain sheep, and the brothers commanded the youth to kill one for
+them. They said, “Our meat is dry; your legs are fresh, so you will kill
+the sheep.” The youth succeeded in heading off the sheep by hiding in a
+bush (<i>Bigelovia Douglasii</i><a class="tag" name="tag9b" id="tag9b" href="#note9b">9</a>) sometimes called sage brush but it is not
+the true sage brush. The sheep came directly toward him; he aimed his
+arrow at them, but before he could pull the bow his arm stiffened and
+became dead and the sheep passed by. All the sheep
+<a name="page283" id="page283"> </a>
+passed him, but he again headed them off by hiding in the stalks of a
+large yucca.<a class="tag" name="tag10b" id="tag10b" href="#note10b">10</a> The sheep passed within five steps of him, and again
+when the time to pull the bow came his arm stiffened. The crow people
+were watching him all the time. He again followed the sheep and got
+ahead of them and hid behind a birch tree in bloom; he had his bow
+ready, but as the sheep approached him they became gods. The first one
+was Hasjelti, the second was Hostjoghon, the third was Naaskiddi, the
+fourth one was Hadatchishi. At this strange metamorphosis the youth was
+greatly alarmed, he dropped his bow and fell to the ground senseless.
+Hasjelti stood at the east side of the youth, Hostjoghon to the south,
+Naaskiddi to the west, and Hadatchishi to the north of him. Each had a
+rattle, which was used to accompany the songs for the recovery of the
+youth. They also traced with their rattle in the sand this emblem,
+<span class="floatright">
+<img src="images/cer_emblem.gif" width="55" height="81"
+alt="emblem in shape of irregular cross"
+title="emblem in shape of irregular cross" />
+</span>
+meaning a figure of a man, and drew parallel lines at the head and feet
+with the rattle. When this was done the youth recovered and the gods had
+again assumed the form of sheep. They asked the youth why he had tried
+to shoot them. “You see you are one of us,” they said. The youth had
+become transformed into a sheep. “There is to be a dance far off to the
+north beyond Ute Mountain; we want you to go with us to the dance. We
+will dress you like ourselves and teach you to dance; we will then go
+over the world.” The brothers who watched from the mesa top wondered
+what the trouble could be. They could not see the gods. They saw the
+youth lying on the ground and said, “We must go and see what is the
+matter.” On reaching the place they found that their young brother had
+gone. They saw where he had lain and where the people had worked over
+him. They began crying and said, “For a long time we would not believe
+him, and now he has gone off with the sheep.” They made many efforts to
+head off the sheep, but without success, and they cried all the more,
+saying, as they returned to the mesa, “Our brother told us the truth and
+we would not believe him; had we believed him he would not have gone off
+with the sheep; perhaps some day we will see him.”</p>
+
+<p>At the dance the sheep found seven others like themselves. This made
+their number twelve. The seven joined the others in their journey around
+the world. All people let them see their dances and learn their songs.
+Then all the number excepting the youth talked together and they said,
+“There is no use keeping him with us longer (referring to the youth); he
+has learned everything; he may as well go now and tell his people and
+have them do as we do.” The youth was instructed to have twelve in the
+dance, six gods and six goddesses, with Hasjelti to lead them. He was
+told to have his people make masks to represent them. It would not do to
+have twelve Naaskiddi
+<a name="page284" id="page284"></a>
+represented among the Navajo, for they would not believe it and there
+would be trouble. They could not learn all of their songs. The youth
+returned to his brothers, carrying with him all songs, all medicine, and
+clothing.</p>
+
+
+<h5 class="section"><a name="myths_firstworld" id="myths_firstworld">
+THE OLD MAN AND WOMAN OF THE FIRST WORLD.</a></h5>
+
+<p>In the lower world four gods were created by Etseastin and Etseasun.
+These gods were so annoyed by ants that they said, “Let us go to the
+four points of the world.” A spring was found at each of the cardinal
+points, and each god took possession of a spring, which he jealously
+guarded.</p>
+
+<p>Etseastin and Etseasun were jealous because they had no water and
+they needed some to produce nourishment. The old man finally obtained a
+little water from each of the gods and planted it, and from it he raised
+a spring such as the gods had. From this spring came corn and other
+vegetation. Etseastin and Etseasun sat on opposite sides of the spring
+facing each other, and sang and prayed and talked to somebody about
+themselves, and thus they originated worship. One day the old man saw
+some kind of fruit in the middle of the spring. He tried to reach it but
+he could not, and asked the spider woman (a&nbsp;member of his family)
+to get it for him. She spun a web across the water and by its use
+procured the fruit, which proved to be a large white shell, quite as
+large as a Tusayan basket. The following day Etseastin discovered
+another kind of fruit in the spring which the spider woman also brought
+him; this fruit was the turquoise. The third day still another kind of
+fruit was discovered by him and obtained by the spider woman; this was
+the abalone shell. The fourth day produced the black stone bead, which
+was also procured.</p>
+
+<p>After ascending into the upper world Etseastin visited the four
+corners to see what he could find. (They had brought a bit of everything
+from the lower world with them). From the east he brought eagle
+feathers; from the south feathers from the bluejay; in the west he found
+hawk feathers, and in the north speckled night bird (whippoorwill)
+feathers. Etseastin and Etseasun carried these to a spring, placing them
+toward the cardinal points. The eagle plumes were laid to the east and
+near by them white corn and white shell; the blue feathers were laid to
+the south with blue corn and turquoise; the hawk feathers were laid to
+the west with yellow corn and abalone shell; and to the north were laid
+the whippoorwill feathers with black beads and corn of all the several
+colors. The old man and woman sang and prayed as they had done at the
+spring in the lower world. They prayed to the east, and the white wolf
+was created; to the south, and the otter appeared; to the west, and the
+mountain lion came; and to the north, the beaver. Etseastin made these
+animals rulers over the several points from which they came.</p>
+
+<p>
+<a name="page285" id="page285"> </a>
+When the white of daylight met the yellow of sunset in mid-heavens they
+embraced, and white gave birth to the coyote; yellow to the yellow fox.
+Blue of the south and black of the north similarly met, giving birth,
+blue to blue fox and north to badger.</p>
+
+<p>Blue and yellow foxes were given to the Pueblos; coyote and badger
+remain with the Navajo; but Great Wolf is ruler over them all. Great
+Wolf was the chief who counseled separation of the sexes.</p>
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<hr class="mid" />
+<h4><a name="notesb" id="notesb">Footnotes</a></h4>
+
+<div class="footnotes">
+
+<p><a name="note1b" id="note1b" href="#tag1b">1.</a>
+In the decoration of the bodies several men assisted, but the
+personators of the gods did much of the work on their own persons, and
+they seemed quite fastidious. The fingers were dipped into the paint and
+rubbed on the body.</p>
+
+<p><a name="note2b" id="note2b" href="#tag2b">2.</a>
+Continency must be observed by the personators of the gods until all
+paint is removed from their bodies.</p>
+
+<p><a name="note3b" id="note3b" href="#tag3b">3.</a>
+The suds were crossed and encircled with the pollen to give them
+additional power to restore the invalid to health.</p>
+
+<p><a name="note4b" id="note4b" href="#tag4b">4.</a>
+I noticed that the priest of the sweat house on no occasion sat with the
+song-priest and his attendants.</p>
+
+<p><a name="note5b" id="note5b" href="#tag5b">5.</a>
+This food is dried and made into a powder, and used as a medicine by the
+theurgist.</p>
+
+<p><a name="note6b" id="note6b" href="#tag6b">6.</a>
+The old priest relating this myth now produced a pouch containing corn
+pollen and a crystal, which he dipped in the pollen and said, “Now we
+must all eat of this pollen and place some on our heads, for we are to
+talk about&nbsp;it.”</p>
+
+<p><a name="note7b" id="note7b" href="#tag7b">7.</a>
+The Naaskiddi are hunchbacks; they have clouds upon their backs, in
+which seeds of all vegetation are held.</p>
+
+<p><a name="note8b" id="note8b" href="#tag8b">8.</a>
+The Navajo will not use real blue coloring in their sand painting, but
+adhere strictly to the instructions of the gods. They do, however, use a
+bit of vermilion, when it can be obtained, to heighten the red coloring
+in the pouches.</p>
+
+<p><a name="note9b" id="note9b" href="#tag9b">9.</a>
+The <i>Bigelovia Douglasii</i> is made into rings and used in the
+ceremonial Hasjelti Dailjis with direct reference to this
+occurrence.</p>
+
+<p><a name="note10b" id="note10b" href="#tag10b">10.</a>
+Ceremonial rings are also made of the Spanish bayonet (yucca).</p>
+
+</div>
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<hr class="mid" />
+
+<h4><a name="indexb" id="indexb">INDEX</a></h4>
+
+<p class="mynote">
+The following partial Index is specific to this article. The Index for
+the entire Eighth Annual Report is included in the <a href="#index">Index</a>.</p>
+
+<table class="index" summary="index">
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Bigelovia Douglasii (sage brush) used as thatch to Navajo
+sweat-house</p></td>
+<td class="number"><a href="#page239">239</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>used to produce smoke in sweat house</p></td>
+<td class="number"><a href="#page240">240</a>, <a href="#page244">244</a></td>
+</tr>
+<tr>
+<td><p>Brothers (The), Navajo myth</p></td>
+<td class="number"><a href="#page280">280</a>-<a href="#page284">284</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Chants in Navajo ceremonial</p></td>
+<td class="number"><a href="#page245">245</a>, <a href="#page246">246</a></td>
+</tr>
+<tr>
+<td><p>Children, initiation of, in Navajo ceremonial</p></td>
+<td class="number"><a href="#page266">266</a>, <a href="#page267">267</a></td>
+</tr>
+<tr>
+<td><p>Crows, Navajo myth concerning</p></td>
+<td class="number"><a href="#page281">281</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Dance, in the ceremony of Hasjelti Dailjis</p></td>
+<td class="number"><a href="#page273">273</a>-<a href="#page275">275</a></td>
+</tr>
+<tr>
+<td><p>Deerskins, for sweat houses and masks in Navajo ceremonial must
+be from smothered animals</p></td>
+<td class="number"><a href="#page242">242</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>over the entrance of a Navajo sweat-house, signification of</p></td>
+<td class="number"><a href="#page242">242</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Esthetle, the first ones, Navajo ceremonial</p></td>
+<td class="number"><a href="#page264">264</a>, <a href="#page271">271</a>, <a href="#page272">272</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>song of</p></td>
+<td class="number"><a href="#page272">272</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>prayer to</p></td>
+<td class="number"><a href="#page272">272</a></td>
+</tr>
+<tr>
+<td><p>Etseastin and Etseasun, Navajo myth</p></td>
+<td class="number"><a href="#page284">284</a>-<a href="#page285">285</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Foods used during Navajo medicine ceremonial</p></td>
+<td class="number"><a href="#page236">236</a>, <a href="#page257">257</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Gaming ring of Navajo ceremonial</p></td>
+<td class="number"><a href="#page238">238</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Hasjelti and Hostjoghon, mythical history of</p></td>
+<td class="number"><a href="#page277">277</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Masks representing various Navajo gods, Indian uses of</p></td>
+<td class="number"><a href="#page248">248</a>, <a href="#page249">249</a>, <a href="#page253">253</a></td>
+</tr>
+<tr>
+<td><p>Medicine cigarette, in Navajo ceremonial, preparation of</p></td>
+<td class="number"><a href="#page258">258</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>disposition of, after use</p></td>
+<td class="number"><a href="#page259">259</a></td>
+</tr>
+<tr>
+<td><p>Medicine lodge, Navajo, construction of</p></td>
+<td class="number"><a href="#page237">237</a></td>
+</tr>
+<tr>
+<td><p>Medicine tubes in Navajo ceremonial</p></td>
+<td class="number"><a href="#page241">241</a>, <a href="#page244">244</a>, <a href="#page246">246</a>, <a href="#page250">250</a>, <a href="#page257">257</a>, <a href="#page258">258</a>, <a href="#page264">264</a></td>
+</tr>
+<tr>
+<td><p>Medicine water used in Navajo ceremonial</p></td>
+<td class="number"><a href="#page255">255</a>, <a href="#page263">263</a>, <a href="#page269">269</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Naiyenesgony and Tobaidischinni, mythical history of</p></td>
+<td class="number"><a href="#page279">279</a>-<a href="#page280">280</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Old man and woman of the first world, Navajo myth</p></td>
+<td class="number"><a href="#page284">284</a>-<a href="#page285">285</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Pine boughs, application for removing disease in Navajo
+ceremonials</p></td>
+<td class="number"><a href="#page247">247</a>, <a href="#page250">250</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>disposition of, after ceremony</p></td>
+<td class="number"><a href="#page248">248</a>, <a href="#page251">251</a></td>
+</tr>
+<tr>
+<td><p>Prayer, on offering medicine tubes to Navajo gods</p></td>
+<td class="number"><a href="#page244">244</a></td>
+</tr>
+<tr>
+<td class="inset"><p>to the Esthetle</p></td>
+<td class="number"><a href="#page272">272</a></td>
+</tr>
+<tr>
+<td><p>Prayer sticks, how prepared for Navajo ceremonial</p></td>
+<td class="number"><a href="#page242">242</a>-<a href="#page243">243</a>, <a href="#page264">264</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Reeds, sacred, for Navajo ceremonial, preparation of</p></td>
+<td class="number"><a href="#page242">242</a>, <a href="#page243">243</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Sand bed used in Navajo ceremonial to absorb disease</p></td>
+<td class="number"><a href="#page250">250</a>, <a href="#page251">251</a></td>
+</tr>
+<tr>
+<td><p>Sand painting, Navajo ceremonial, learned by the Navajos from the
+Pueblos</p></td>
+<td class="number"><a href="#page236">236</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>colors used in</p></td>
+<td class="number"><a href="#page237">237</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>manner of laying on colors</p></td>
+<td class="number"><a href="#page239">239</a>-<a href="#page248">248</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>disposition of sand after ceremony</p></td>
+<td class="number"><a href="#page241">241</a>, <a href="#page261">261</a>, <a href="#page264">264</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page260">260</a>, <a href="#page261">261</a>, <a href="#page262">262</a>, <a href="#page264">264</a>, <a href="#page265">265</a></td>
+</tr>
+<tr>
+<td>
+<p>Sheep, mountain, Navajo myth concerning</p></td>
+<td class="number"><a href="#page282">282</a>-<a href="#page284">284</a></td>
+</tr>
+<tr>
+<td><p>Spider woman, the, Navajo myth</p></td>
+<td class="number"><a href="#page284">284</a></td>
+</tr>
+<tr>
+<td><p>Sticks, painted, bundles of, used in Navajo medicine
+ceremonial</p></td>
+<td class="number"><a href="#page252">252</a>, <a href="#page254">254</a></td>
+</tr>
+<tr>
+<td><p>Suds of yucca used in Navajo medicine ceremonial</p></td>
+<td class="number"><a href="#page251">251</a>, <a href="#page257">257</a>, <a href="#page258">258</a></td>
+</tr>
+<tr>
+<td><p>Sun, Navajo myth concerning creation of</p></td>
+<td class="number"><a href="#page275">275</a>, <a href="#page277">277</a></td>
+</tr>
+<tr>
+<td><p>Sweat-houses in Navajo ceremonial, description of</p></td>
+<td class="number"><a href="#page239">239</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Toneennili, the water-sprinkler, song addressed to, in Navajo
+ceremonial</p></td>
+<td class="number"><a href="#page259">259</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Yebitchai, meaning of the term</p></td>
+<td class="number"><a href="#page235">235</a>, <a href="#page236">236</a></td>
+</tr>
+
+<tr>
+<td class="filler" colspan="2">&nbsp;</td>
+</tr>
+<tr>
+<td><p>Zenichi, Navajo gods</p></td>
+<td class="number"><a href="#page265">265</a></td>
+</tr>
+
+</table>
+
+<p>&nbsp;<br/>&nbsp;</p>
+
+<hr class="mid" />
+
+<p class="mynote">
+<a name="noteA" id="noteA" href="#tagA">A.</a>
+Illustrations from “Third Ceremony” text, <a href="#page247">page
+247</a>:</p>
+
+<pre>
+    __
+    \/  scalp knot
+    /\
+    ¯¯
+
+    III__III__III__III wreath
+    III  III  III  III</pre>
+
+<p>
+<a name="page286b" id="page286b"> </a>
+<a name="page287" id="page287"> </a>
+</p>
+
+<h3><a name="index" id="index">INDEX.</a></h3>
+
+<p class="mynote">
+Page references in Roman numerals link to the introductory material,
+included in the present file. Page references in Arabic numerals link to
+the Mindeleff and Stevenson articles in separate files.
+</p>
+
+<h5><a href="#index_A">&nbsp;A&nbsp;</a>
+<a href="#index_B">&nbsp;B&nbsp;</a>
+<a href="#index_C">&nbsp;C&nbsp;</a>
+<a href="#index_D">&nbsp;D&nbsp;</a>
+<a href="#index_E">&nbsp;E&nbsp;</a>
+<a href="#index_F">&nbsp;F&nbsp;</a>
+<a href="#index_G">&nbsp;G&nbsp;</a>
+<a href="#index_H">&nbsp;H&nbsp;</a>
+<a href="#index_I">&nbsp;I&nbsp;</a>
+<a href="#index_J">&nbsp;J&nbsp;</a>
+<a href="#index_K">&nbsp;K&nbsp;</a>
+<a href="#index_L">&nbsp;L&nbsp;</a><br/>
+<a href="#index_M">&nbsp;M&nbsp;</a>
+<a href="#index_N">&nbsp;N&nbsp;</a>
+<a href="#index_O">&nbsp;O&nbsp;</a>
+<a href="#index_P">&nbsp;P&nbsp;</a>
+<a href="#index_R">&nbsp;R&nbsp;</a>
+<a href="#index_S">&nbsp;S&nbsp;</a>
+<a href="#index_T">&nbsp;T&nbsp;</a>
+<a href="#index_U">&nbsp;U&nbsp;</a>
+<a href="#index_V">&nbsp;V&nbsp;</a>
+<a href="#index_W">&nbsp;W&nbsp;</a>
+<a href="#index_Y">&nbsp;Y&nbsp;</a>
+<a href="#index_Z">&nbsp;Z&nbsp;</a>
+</h5>
+
+<table class="index" summary="index">
+<tr>
+<td></td>
+<td class="number">Page.</td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_A" id="index_A">A.</a></td>
+</tr>
+<tr>
+<td><p>Acoma, arrival of the Asanyumu at</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>direction of kivas of</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kiva trap-doors at</p></td>
+<td class="number"><a href="#page207">207</a></td>
+</tr>
+<tr>
+<td><p>Adobe, use in Tusayan</p></td>
+<td class="number"><a href="#page054">54</a>, <a
+href="#page078">78</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>use in Zuñi attributed to foreign influence</p></td>
+<td class="number"><a href="#page139">139</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>necessity for protecting against rain</p></td>
+<td class="number"><a href="#page156">156</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>used in Spanish churches</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>Adobe balls used in garden walls</p></td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td><p>Adobe bricks, in Hawikut church</p></td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>use modern in Zuñi</p></td>
+<td class="number"><a href="#page138">138</a></td>
+</tr>
+<tr>
+<td><p>Adobe mortar, in Tâaaiyalana structures</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Cibola and Tusayan use of, compared</p></td>
+<td class="number"><a href="#page137">137</a></td>
+</tr>
+<tr>
+<td><p>Adobe walls on stone foundation at Moenkopi</p></td>
+<td class="number"><a href="#page078">78</a></td>
+</tr>
+<tr>
+<td><p>Áikoka. See Acoma</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Aiyáhokwi, the descendants of the Asa at Zuñi</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Alleyway, Hawikuh</p></td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td><p>Altar, conformity of, to direction of kiva</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td><p>Andiron, Shumopavi</p></td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td><p>Annular doorway</p></td>
+<td class="number"><a href="#page192">192</a>,
+<a href="#page193">193</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Apache, inroads upon Tusayan by the</p></td>
+<td class="number"><a href="#page025">25</a>, <a
+href="#page026">26</a>, <a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>exposure of southern Cibola to the</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Appropriations and expenditures for 1886-’87</p></td>
+<td class="number roman"><a href="#pageXXXVI">XXXVI</a></td>
+</tr>
+<tr>
+<td><p>Architectural nomenclature</p></td>
+<td class="number"><a href="#page220">220</a>, <a
+href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>Architecture, comparison of constructional details of Tusayan and
+Cibola</p></td>
+<td class="number"><a href="#page100">100</a>-<a
+href="#page223">223</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td class="inset">
+<p>adaption to defense</p></td>
+<td class="number"><a href="#page226">226</a>, <a
+href="#page227">227</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>adaption to environment</p></td>
+<td class="number"><a href="#page225">225</a>, <a
+href="#page226">226</a>, <a href="#page227">227</a>, <a href="#page228">228</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Art, textile and fictile, degree of Pueblo advancement
+in</p></td>
+<td class="number"><a href="#page227">227</a></td>
+</tr>
+<tr>
+<td><p>Arts of Cibola and Tusayan closely related</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>Asa, migrations of the</p></td>
+<td class="number"><a href="#page030">30</a>, <a
+href="#page031">31</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>language of the</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>houses of, Hano</p></td>
+<td class="number"><a href="#page061">61</a></td>
+</tr>
+<tr>
+<td>Asanyumu. See Asa.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Awatubi, survey of</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Spanish mission established at</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>when and by whom built</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>settlement of the Asa at</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>attacked by the Walpi</p></td>
+<td class="number"><a href="#page034">34</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of ruins of</p></td>
+<td class="number"><a href="#page049">49</a>, <a
+href="#page050">50</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>possession of sheep by the</p></td>
+<td class="number"><a href="#page050">50</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>clay tubes used as roof drains at</p></td>
+<td class="number"><a href="#page155">155</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fragments of passage wall at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>Aztecs, ruined structures attributed to the</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+</table>
+
+<table class="index" summary="index continues">
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_B" id="index_B">B.</a></td>
+</tr>
+<tr>
+<td><p>Badger people leave Walpi</p></td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td><p>Baho, use of, in kiva consecratory ceremonies</p></td>
+<td class="number"><a href="#page119">119</a>-<a
+href="#page120">120</a>, <a href="#page129">129</a>, <a href="#page130">130</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Balcony, notched and terraced</p></td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td><p>Banded masonry</p></td>
+<td class="number"><a href="#page145">145</a></td>
+</tr>
+<tr>
+<td><p>Bandelier, A. F., description of chimney</p></td>
+<td class="number"><a href="#page173">173</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>explorations of</p></td>
+<td class="number"><a href="#page197">197</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on ancient stone inclosures</p></td>
+<td class="number"><a href="#page216">216</a></td>
+</tr>
+<tr>
+<td><p>Bat house, description of ruin of</p></td>
+<td class="number"><a href="#page052">52</a></td>
+</tr>
+<tr>
+<td><p>Bátni, the first pueblo of the Snake people of Tusayan</p></td>
+<td class="number"><a href="#page018">18</a></td>
+</tr>
+<tr>
+<td><p>Bedsteads not used by Pueblos</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Beams, Tusayan kivas, taken from Spanish church at
+Shumopavi</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>for supporting upper walls</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>modern finish of</p></td>
+<td class="number"><a href="#page149">149</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>construction of steps upon</p></td>
+<td class="number"><a href="#page162">162</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>for supporting passageway wall</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Chaco pueblos, how squared</p></td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>Bear people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page020">20</a>, <a
+href="#page026">26</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>removal to Walpi of the</p></td>
+<td class="number"><a href="#page021">21</a>, <a
+href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>movements of</p></td>
+<td class="number"><a href="#page027">27</a>, <a
+href="#page030">30</a>, <a href="#page031">31</a>, <a href="#page038">38</a></td>
+</tr>
+<tr>
+<td><p>Bear-skin-rope people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page026">26</a>, <a
+href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>Benches or ledges of masonry, Zuñi rooms</p></td>
+<td class="number"><a href="#page110">110</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan kivas</p></td>
+<td class="number"><a href="#page121">121</a>, <a
+href="#page123">123</a>, <a href="#page125">125</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Mashongnavi mungkiva</p></td>
+<td class="number"><a href="#page127">127</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>around rooms of pueblo houses</p></td>
+<td class="number"><a href="#page213">213</a></td>
+</tr>
+<tr>
+<td><p>Bigelovia Douglasii (sage brush) used as thatch to Navajo
+sweat-house</p></td>
+<td class="number"><a href="#page239">239</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>used to produce smoke in sweat house</p></td>
+<td class="number"><a href="#page240">240</a>, <a
+href="#page244">244</a></td>
+</tr>
+<tr>
+<td><p>Biloxi Indians, linguistic researches among</p></td>
+<td class="number roman"><a href="#pageXX">XX</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Bins for storage in Tusayan rooms</p></td>
+<td class="number"><a href="#page109">109</a>, <a
+href="#page209">209</a>, <a href="#page210">210</a></td>
+</tr>
+<tr>
+<td><p>Blankets formerly used to cover doorways</p></td>
+<td class="number"><a href="#page182">182</a>, <a
+href="#page188">188</a>, <a href="#page189">189</a>, <a href="#page194">194</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Blue Jay people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page026">26</a>, <a
+href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>Bond stones used in pueblo walls</p></td>
+<td class="number"><a href="#page144">144</a>, <a
+href="#page198">198</a></td>
+</tr>
+<tr>
+<td><p>Boss, or andiron, Shumopavi</p></td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td><p>Bourke, Capt. J. G., Pueblo vases, etc., presented by</p></td>
+<td class="number roman"><a href="#pageXXV">XXV</a></td>
+</tr>
+<tr>
+<td><p>Boundary line, Hano and Sichumovi</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td><p>Boundary mark, Shumopavi and Oraibi</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>Boxes for plumes</p></td>
+<td class="number"><a href="#page210">210</a></td>
+</tr>
+<tr>
+<td><p>Bricks of adobe modern in Zuñi</p></td>
+<td class="number"><a href="#page138">138</a></td>
+</tr>
+<tr>
+<td><p>Brothers (The), Navajo myth</p></td>
+<td class="number"><a href="#page280">280</a>-<a
+href="#page284">284</a></td>
+</tr>
+<tr>
+<td><p>Brush, use of, in roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>Brush shelters</p></td>
+<td class="number"><a href="#page217">217</a>-<a
+href="#page219">219</a></td>
+</tr>
+<tr>
+<td>
+<a name="page288" id="page288"> </a>
+<p>Burial custom of K’iakima natives</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td><p>Burial inclosures at K’iakima</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>Burial place of Zuñi</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>Burrowing Owl people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page026">26</a></td>
+</tr>
+<tr>
+<td><p>Bushotter, Geo., work of</p></td>
+<td class="number roman"><a href="#pageXXIX">XXIX</a></td>
+</tr>
+<tr>
+<td><p>Buttress, formerly of Halona, existing in Zuñi</p></td>
+<td class="number"><a href="#page088">88</a>, <a
+href="#page089">89</a></td>
+</tr>
+<tr>
+<td><p>Buttress projections, Zuñi</p></td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan rooms</p></td>
+<td class="number"><a href="#page109">109</a>, <a
+href="#page110">110</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>girders supported by</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>chimney supported by</p></td>
+<td class="number"><a href="#page172">172</a>, <a
+href="#page173">173</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>support of passageway roofs by</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_C" id="index_C">C.</a></td>
+</tr>
+<tr>
+<td><p>Cages for eagles at Zuñi</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Canyon de Chelly, proposed study of ruins of</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan, tradition concerning villages of</p></td>
+<td class="number"><a href="#page019">19</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>early occupancy of, by the Bear people at Tusayan</p></td>
+<td class="number"><a href="#page020">20</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>occupied by the Asa</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>use of whitewash in cliff houses of</p></td>
+<td class="number"><a href="#page074">74</a>, <a
+href="#page145">145</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>circular kivas of</p></td>
+<td class="number"><a href="#page117">117</a>, <a
+href="#page133">133</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>finish of roofs of houses of</p></td>
+<td class="number"><a href="#page150">150</a>, <a
+href="#page151">151</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>doorway described and figured</p></td>
+<td class="number"><a href="#page190">190</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>cliff dwellings of</p></td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>Casa Blanca, traces of whitewashing at</p></td>
+<td class="number"><a href="#page145">145</a></td>
+</tr>
+<tr>
+<td><p>Castañeda’s account of Cibolan milling</p></td>
+<td class="number"><a href="#page211">211</a>, <a
+href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>Cattle introduced into Tusayan</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td><p>Cave lodges occupied in historic times</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>Cave used by inhabitants of Kwaituki</p></td>
+<td class="number"><a href="#page057">57</a></td>
+</tr>
+<tr>
+<td><p>Ceiling plan of Shupaulovi kiva</p></td>
+<td class="number"><a href="#page123">123</a>, <a
+href="#page125">125</a>, <a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>Ceilings, retention of original appearance of rooms through
+nonrenovation of</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td><p>Cellars not used in Tusayan and Cibola</p></td>
+<td class="number"><a href="#page143">143</a></td>
+</tr>
+<tr>
+<td>Ceremonial chamber. See Kiva.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Ceremonial paraphernalia of Tusayan taken by the Navajo</p></td>
+<td class="number"><a href="#page050">50</a></td>
+</tr>
+<tr>
+<td><p>Ceremonies connected with Tusayan house-building</p></td>
+<td class="number"><a href="#page100">100</a>-<a
+href="#page104">104</a>, <a href="#page168">168</a></td>
+</tr>
+<tr>
+<td><p>Ceremonies accompanying kiva construction</p></td>
+<td class="number"><a href="#page115">115</a>, <a
+href="#page118">118</a></td>
+</tr>
+<tr>
+<td><p>Ceremonies performed at placing of Zuñi ladders</p></td>
+<td class="number"><a href="#page160">160</a></td>
+</tr>
+<tr>
+<td><p>Chaco ruins, character of</p></td>
+<td class="number"><a href="#page014">14</a>, <a
+href="#page070">70</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>compared with Kin-tiel</p></td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>finish of masonry of</p></td>
+<td class="number"><a href="#page140">140</a>, <a
+href="#page226">226</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>upper story partitions of, supported by beams</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>finish of woodwork of</p></td>
+<td class="number"><a href="#page149">149</a>, <a
+href="#page184">184</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>symmetry of arrangement of outer openings of</p></td>
+<td class="number"><a href="#page195">195</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>loop-holes in walls of</p></td>
+<td class="number"><a href="#page198">198</a></td>
+</tr>
+<tr>
+<td><p>Chairs, lack of in Pueblo houses</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>Chair of modern form in Zuñi</p></td>
+<td class="number"><a href="#page213">213</a></td>
+</tr>
+<tr>
+<td><p>Chalowe, description of</p></td>
+<td class="number"><a href="#page083">83</a></td>
+</tr>
+<tr>
+<td><p>Chants in Navajo ceremonial</p></td>
+<td class="number"><a href="#page245">245</a>, <a
+href="#page246">246</a></td>
+</tr>
+<tr>
+<td><p>Charred roof timbers of Tusayan kiva</p></td>
+<td class="number"><a href="#page120">120</a></td>
+</tr>
+<tr>
+<td><p>Children, initiation of, in Navajo ceremonial</p></td>
+<td class="number"><a href="#page266">266</a>, <a
+href="#page267">267</a></td>
+</tr>
+<tr>
+<td>Chimney. See Fireplace.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Chimney-hoods, how constructed</p></td>
+<td class="number"><a href="#page169">169</a>-<a
+href="#page175">175</a></td>
+</tr>
+<tr>
+<td><p>Chimneys, traces of in K’iakima</p></td>
+<td class="number"><a href="#page085">85</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>remains of, at Matsaki</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi</p></td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>described and figured</p></td>
+<td class="number"><a href="#page167">167</a>-<a
+href="#page180">180</a></td>
+</tr>
+<tr>
+<td><p>Chukubi pueblo, built by the Squash people</p></td>
+<td class="number"><a href="#page025">25</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description</p></td>
+<td class="number"><a href="#page058">58</a>, <a
+href="#page059">59</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fragments of passage wall at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>Church, Shumopavi, established by Spanish monks</p></td>
+<td class="number"><a href="#page075">75</a>, <a
+href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Hawikuh</p></td>
+<td class="number"><a href="#page081">81</a>, <a
+href="#page138">138</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Ketchipauan, remains of</p></td>
+<td class="number"><a href="#page081">81</a>, <a
+href="#page082">82</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>in court of Zuñi</p></td>
+<td class="number"><a href="#page098">98</a>, <a
+href="#page138">138</a>, <a href="#page148">148</a></td>
+</tr>
+<tr>
+<td class="inset">See Mission.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Churches established in Zuñi and Tusayan</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>Cibola, ruins and inhabited villages of</p></td>
+<td class="number"><a href="#page080">80</a>-<a
+href="#page099">99</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>architecture of compared with that of Tusayan</p></td>
+<td class="number"><a href="#page100">100</a>-<a
+href="#page223">223</a></td>
+</tr>
+<tr>
+<td class="inset">See Zuñi.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Circular doorway of Kin-tiel described</p></td>
+<td class="number"><a href="#page192">192</a></td>
+</tr>
+<tr>
+<td><p>Circular kivas, antiquity of</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>traditional references to</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>absent in Cibolan pueblos</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>Circular room at Oraibi Wash</p></td>
+<td class="number"><a href="#page054">54</a>-<a
+href="#page055">55</a></td>
+</tr>
+<tr>
+<td><p>Circular rooms at Kin-tiel</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td><p>Circular wall of kiva near Sikyatki</p></td>
+<td class="number"><a href="#page117">117</a></td>
+</tr>
+<tr>
+<td><p>Clay surface of pueblo roofs</p></td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td><p>Clay tubes used as roof drains</p></td>
+<td class="number"><a href="#page155">155</a></td>
+</tr>
+<tr>
+<td><p>Cliff dwellings, Moen-kopi</p></td>
+<td class="number"><a href="#page054">54</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>use of whitewash in</p></td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>absence of chimneys in</p></td>
+<td class="number"><a href="#page168">168</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>developed from temporary shelters</p></td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>occupied in historic times</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>Climatic conditions, effect of, upon pueblo architecture</p></td>
+<td class="number"><a href="#page140">140</a>, <a
+href="#page227">227</a></td>
+</tr>
+<tr>
+<td><p>Clustering of Tâaaiyalana ruins</p></td>
+<td class="number"><a href="#page089">89</a>-<a
+href="#page090">90</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Cochití claimed to be a former Tewa pueblo</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Comecrudo Indians, linguistic researches among</p></td>
+<td class="number roman"><a href="#pageXXI">XXI</a></td>
+</tr>
+<tr>
+<td><p>Communal village, development of pueblo architecture from conical
+lodge to</p></td>
+<td class="number"><a href="#page226">226</a></td>
+</tr>
+<tr>
+<td><p>Consecration of kivas</p></td>
+<td class="number"><a href="#page129">129</a></td>
+</tr>
+<tr>
+<td><p>Contours represented on plans, interval of</p></td>
+<td class="number"><a href="#page045">45</a></td>
+</tr>
+<tr>
+<td><p>Cooking, pueblo method of</p></td>
+<td class="number"><a href="#page164">164</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Cooking pits and ovens described</p></td>
+<td class="number"><a href="#page162">162</a>-<a
+href="#page166">166</a>, <a href="#page176">176</a>-<a href="#page177">177</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Cooking stones of Tusayan, flames of</p></td>
+<td class="number"><a href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>Copings of walls described</p></td>
+<td class="number"><a href="#page151">151</a>-<a
+href="#page152">152</a></td>
+</tr>
+<tr>
+<td><p>Coping of hatchways</p></td>
+<td class="number"><a href="#page203">203</a></td>
+</tr>
+<tr>
+<td>Coping. See Roof-coping.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Cords, used for suspending chimney</p></td>
+<td class="number"><a href="#page170">170</a></td>
+</tr>
+<tr>
+<td><p>Corner stones of Tusayan kivas</p></td>
+<td class="number"><a href="#page119">119</a></td>
+</tr>
+<tr>
+<td><p>Corrals, Payupki</p></td>
+<td class="number"><a href="#page059">59</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Sichumovi</p></td>
+<td class="number"><a href="#page062">62</a>-<a
+href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Hawikuh</p></td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Ketchipauan</p></td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>modern, at K’iakima</p></td>
+<td class="number"><a href="#page085">85</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>how constructed</p></td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>described in detail</p></td>
+<td class="number"><a href="#page214">214</a>-<a
+href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>Cotton cultivated by the Tusayan</p></td>
+<td class="number"><a href="#page033">33</a></td>
+</tr>
+<tr>
+<td><p>Courts, Mishiptonga</p></td>
+<td class="number"><a href="#page052">52</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Kwaituki</p></td>
+<td class="number"><a href="#page056">56</a></td>
+</tr>
+<tr>
+<td>
+<a name="page289" id="page289"> </a>
+<p>Courts, Chukubi</p></td>
+<td class="number"><a href="#page059">59</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Sichumovi</p></td>
+<td class="number"><a href="#page062">62</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Walpi</p></td>
+<td class="number"><a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Mashongnavi</p></td>
+<td class="number"><a href="#page068">68</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shupaulovi</p></td>
+<td class="number"><a href="#page071">71</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shumopavi</p></td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Hawikuh</p></td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Ketchipauan</p></td>
+<td class="number"><a href="#page081">81</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Matsaki</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tâaaiyalana</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Kin-tiel</p></td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Pescado</p></td>
+<td class="number"><a href="#page095">95</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi</p></td>
+<td class="number"><a href="#page098">98</a></td>
+</tr>
+<tr>
+<td><p>Covered way, how developed</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td><p>Covered passages and gateways described</p></td>
+<td class="number"><a href="#page180">180</a>-<a
+href="#page182">182</a></td>
+</tr>
+<tr>
+<td><p>Coyote people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page026">26</a></td>
+</tr>
+<tr>
+<td><p>Coyote kiva, direction of the</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td><p>Crossbars used in fastening wooden doors</p></td>
+<td class="number"><a href="#page183">183</a></td>
+</tr>
+<tr>
+<td><p>Crosspieces of ladders</p></td>
+<td class="number"><a href="#page159">159</a></td>
+</tr>
+<tr>
+<td><p>Crows, Navajo myth concerning</p></td>
+<td class="number"><a href="#page281">281</a></td>
+</tr>
+<tr>
+<td><p>Cruzate, visit to Awatubi of</p></td>
+<td class="number"><a href="#page049">49</a></td>
+</tr>
+<tr>
+<td><p>Culture of pueblo tribes, degree of</p></td>
+<td class="number"><a href="#page227">227</a></td>
+</tr>
+<tr>
+<td><p>Curtin, Jeremiah, work of</p></td><td class="number roman"><a
+href="#pageXXI">XXI</a>, <a href="#pageXXIX">XXIX</a></td>
+</tr>
+<tr>
+<td><p>Curtis, Wm. E., pottery, etc., from Peru presented by</p></td>
+<td class="number roman"><a href="#pageXXVI">XXVI</a></td>
+</tr>
+<tr>
+<td><p>Cushing, Frank H., work of</p></td><td class="number roman"><a
+href="#pageXXIV">XXIV</a>, <a href="#pageXXV">XXV</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>identifies K’iakima as scene of death of Estevanico</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>excavations at Halona</p></td>
+<td class="number"><a href="#page088">88</a>, <a
+href="#page193">193</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>opinion concerning western wall of Halona</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>opinion concerning distribution of Tâaaiyalana ruins</p></td>
+<td class="number"><a href="#page089">89</a>-<a
+href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on the former occupancy of Kin-tiel</p></td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Halona identified as one of the Seven Cities of Cibola</p></td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on Zuñi tradition concerning stone-close</p></td>
+<td class="number"><a href="#page192">192</a></td>
+</tr>
+</table>
+
+<table class="index" summary="index continues">
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_D" id="index_D">D.</a></td>
+</tr>
+<tr>
+<td><p>Dais of kivas</p></td>
+<td class="number"><a href="#page121">121</a>, <a
+href="#page122">122</a>, <a href="#page123">123</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Dance, in the ceremony of Hasjelti Dailjis</p></td>
+<td class="number"><a href="#page273">273</a>-<a
+href="#page275">275</a></td>
+</tr>
+<tr>
+<td><p>Dance ceremony in kiva consecration</p></td>
+<td class="number"><a href="#page130">130</a></td>
+</tr>
+<tr>
+<td><p>Dance rock, Tusayan, reference to snake dance of</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>Débris, how indicated in plans of ruins</p></td>
+<td class="number"><a href="#page045">45</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>an indication of original height of walls</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td><p>Decoration, house openings</p></td>
+<td class="number"><a href="#page145">145</a>-<a
+href="#page146">146</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Kiva roof timbers</p></td>
+<td class="number"><a href="#page119">119</a>, <a
+href="#page120">120</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ladder crosspieces</p></td>
+<td class="number"><a href="#page159">159</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>roof beams</p></td>
+<td class="number"><a href="#page123">123</a>, <a
+href="#page124">124</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>wall of Mashongnavi house</p></td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>wooden chair</p></td>
+<td class="number"><a href="#page213">213</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi window sashes</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td><p>Deer horns used as pegs in Zuñi</p></td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td><p>Deerskins, for sweat houses and masks in Navajo ceremonial must
+be from smothered animals</p></td>
+<td class="number"><a href="#page242">242</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>over the entrance of a Navajo sweat-house, signification of</p></td>
+<td class="number"><a href="#page242">242</a></td>
+</tr>
+<tr>
+<td><p>Defense, wall for, at Bat House</p></td>
+<td class="number"><a href="#page052">52</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>a motive for selection of dwelling site</p></td>
+<td class="number"><a href="#page056">56</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>architecture relied upon for</p></td>
+<td class="number"><a href="#page058">58</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>method of, of Payupki</p></td>
+<td class="number"><a href="#page059">59</a>, <a
+href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>not a factor in selection of Mashongnavi site</p></td>
+<td class="number"><a href="#page067">67</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>features of, at Ojo <ins class="correction"
+title="text reads ‘Calient’">Caliente</ins></p></td>
+<td class="number"><a href="#page069">69</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>wall for, at Pueblo Bonito</p></td>
+<td class="number"><a href="#page070">70</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>features of, at Tusayan and Zuñi compared</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>sites chosen for, inconvenient to sources of subsistence</p></td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>use of <ins class="correction" title="text reads ‘Kelchipauan’">Ketchipauan</ins> church for, by natives</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>the motive of occupation of Tâaaiyalana mesa</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>provision for, at Kin-tiel</p></td>
+<td class="number"><a href="#page092">92</a>, <a
+href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>provisions for, in Ketchipauan church</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>motive for, dying out in Zuñi</p></td>
+<td class="number"><a href="#page096">96</a>-<a
+href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>efficiency of, at Zuñi</p></td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>not a motive in selection of site of Zuñi</p></td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>gateways arranged for</p></td>
+<td class="number"><a href="#page180">180</a>, <a
+href="#page182">182</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>loopholes for</p></td>
+<td class="number"><a href="#page198">198</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>adaptation of architecture to</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>Doors to ground floor rooms of Zuñi</p></td>
+<td class="number"><a href="#page143">143</a></td>
+</tr>
+<tr>
+<td><p>Doors of various lands described</p></td>
+<td class="number"><a href="#page183">183</a>-<a
+href="#page194">194</a></td>
+</tr>
+<tr>
+<td><p>Doorway, Walpi kiva, closed with cottonwood slab</p></td>
+<td class="number"><a href="#page064">64</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Kin-tiel</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>position of, in Tusayan</p></td>
+<td class="number"><a href="#page103">103</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>stepped form in Tusayan</p></td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>how sealed against intrusion</p></td>
+<td class="number"><a href="#page110">110</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>window and chimney in one</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>annular</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Doorways, closed with masonry</p></td>
+<td class="number"><a href="#page183">183</a>, <a
+href="#page187">187</a>, <a href="#page188">188</a>, <a href="#page189">189</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>why made small</p></td>
+<td class="number"><a href="#page197">197</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Dorsey, J. Owen, work of</p></td><td class="number roman"><a
+href="#pageXXVIII">XXVIII</a>-<a href="#pageXXIX">XXIX</a></td>
+</tr>
+<tr>
+<td><p>Drainage of roof, relations of certain roof openings to</p></td>
+<td class="number"><a href="#page203">203</a>-<a
+href="#page204">204</a></td>
+</tr>
+<tr>
+<td><p>Drains of roofs described</p></td>
+<td class="number"><a href="#page153">153</a>-<a
+href="#page156">156</a></td>
+</tr>
+<tr>
+<td>Drains. See roof drains.</td>
+<td></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_E" id="index_E">E.</a></td>
+</tr>
+<tr>
+<td><p>Eagle cages of Zuñi</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Eagle people, migration legend of the</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>Earth used in pueblo roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>Eaves, lack of, in Tusayan houses</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>Echo Cave fireplace described</p></td>
+<td class="number"><a href="#page168">168</a></td>
+</tr>
+<tr>
+<td><p>Emmert, J. W., work of</p></td>
+<td class="number roman"><a href="#pageXIX">XIX</a></td>
+</tr>
+<tr>
+<td><p>Entrances, uniformity of direction of, in Zuñi kivas</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Environment, adaptation of architecture to</p></td>
+<td class="number"><a href="#page225">225</a>, <a
+href="#page226">226</a>, <a href="#page227">227</a>, <a href="#page228">228</a></td>
+</tr>
+<tr>
+<td><p>Eskimo, work on</p></td><td class="number roman"><a href="#pageXXVII">XXVII</a>, <a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>Estevanico’s death, at K’iakima</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td><p>Esthetle, the first ones, Navajo ceremonial</p></td>
+<td class="number"><a href="#page264">264</a>, <a
+href="#page271">271</a>, <a href="#page272">272</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>song of</p></td>
+<td class="number"><a href="#page272">272</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>prayer to</p></td>
+<td class="number"><a href="#page272">272</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td>Estufa. See Kiva.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Etseastin and Etseasun, Navajo myth</p></td>
+<td class="number"><a href="#page284">284</a>-<a
+href="#page285">285</a></td>
+</tr>
+<tr>
+<td><p>Expenditures of Bureau of Ethnology for 1886-’87</p></td>
+<td class="number roman"><a href="#pageXXXVI">XXXVI</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="page290" id="page290"> </a>
+<a name="index_F" id="index_F">F.</a></td>
+</tr>
+<tr>
+<td><p>Families occupying Oraibi</p></td>
+<td class="number"><a href="#page105">105</a>-<a
+href="#page108">108</a></td>
+</tr>
+<tr>
+<td><p>Farming outlook, Matsaki used as</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>near Kin-tiel</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td><p>Farming pueblos, Cibola</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Moen-kopi</p></td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Nutria</p></td>
+<td class="number"><a href="#page094">94</a>, <a
+href="#page095">95</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Pescado</p></td>
+<td class="number"><a href="#page095">95</a>-<a
+href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Ojo Caliente</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi</p></td>
+<td class="number"><a href="#page198">198</a></td>
+</tr>
+<tr>
+<td><p>Fastenings of doors</p></td>
+<td class="number"><a href="#page186">186</a></td>
+</tr>
+<tr>
+<td><p>Feathers, use of, in house-building ceremonies</p></td>
+<td class="number"><a href="#page101">101</a>, <a
+href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>Feather wand or baho used in kiva-building ceremonials</p></td>
+<td class="number"><a href="#page119">119</a>, <a
+href="#page120">120</a>, <a href="#page129">129</a>, <a href="#page130">130</a></td>
+</tr>
+<tr>
+<td><p>Fences of corrals and gardens</p></td>
+<td class="number"><a href="#page215">215</a>, <a
+href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>Fetiches, where placed during kiva ceremonial</p></td>
+<td class="number"><a href="#page122">122</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan kivas</p></td>
+<td class="number"><a href="#page130">130</a>, <a
+href="#page131">131</a></td>
+</tr>
+<tr>
+<td><p>Field work</p></td><td class="number roman"><a href="#pageXVIII">XVIII</a>, <a href="#pageXXIII">XXIII</a></td>
+</tr>
+<tr>
+<td><p>Financial statement</p></td>
+<td class="number roman"><a href="#pageXXXVI">XXXVI</a></td>
+</tr>
+<tr>
+<td><p>Fire gens, Tebugkihu constructed by the</p></td>
+<td class="number"><a href="#page057">57</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Fire-house or Tebugkihu, Tusayan</p></td>
+<td class="number"><a href="#page020">20</a>, <a
+href="#page057">57</a>, <a href="#page100">100</a>, <a href="#page142">142</a>, <a href="#page224">224</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Fire people of Tusayan, migration of the</p></td>
+<td class="number"><a href="#page020">20</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Fireplaces</p></td>
+<td class="number"><a href="#page102">102</a>, <a
+href="#page109">109</a>, <a href="#page121">121</a>, <a href="#page125">125</a>, <a href="#page163">163</a>, <a href="#page167">167</a>-<a href="#page180">180</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Floor, Mashongnavi house</p></td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>stone flags, Tusayan kiva</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>sandstone slabs, Shupaulovi kiva</p></td>
+<td class="number"><a href="#page123">123</a></td>
+</tr>
+<tr>
+<td><p>Floors in pueblo buildings, various kinds described</p></td>
+<td class="number"><a href="#page121">121</a>, <a
+href="#page135">135</a>, <a href="#page148">148</a>-<a href="#page151">151</a></td>
+</tr>
+<tr>
+<td><p>Folk-tale of the Zuñi, describing stone-close</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>Food sacrifices in Tusayan house building</p></td>
+<td class="number"><a href="#page101">101</a>, <a
+href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>Foods used during Navajo medicine ceremonial</p></td>
+<td class="number"><a href="#page236">236</a>, <a
+href="#page257">257</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Fortress houses the highest type of Pueblo construction</p></td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Fowke, Gerard, work of</p></td><td class="number roman"><a href="#pageXX">XX</a>, <a href="#pageXXIV">XXIV</a></td>
+</tr>
+<tr>
+<td><p>Frames of trap-doors, method of making</p></td>
+<td class="number"><a href="#page206">206</a></td>
+</tr>
+<tr>
+<td><p>Framing of windows, method of</p></td>
+<td class="number"><a href="#page196">196</a>-<a
+href="#page198">198</a></td>
+</tr>
+<tr>
+<td><p>Fuel, how stored in Tusayan</p></td>
+<td class="number"><a href="#page103">103</a></td>
+</tr>
+<tr>
+<td><p>Fuel used in kivas</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>Fuel of kivas, where stored</p></td>
+<td class="number"><a href="#page124">124</a></td>
+</tr>
+<tr>
+<td><p>Furniture of the Pueblos described</p></td>
+<td class="number"><a href="#page208">208</a>-<a
+href="#page214">214</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_G" id="index_G">G.</a></td>
+</tr>
+<tr>
+<td><p>Gaming ring of Navajo ceremonial</p></td>
+<td class="number"><a href="#page238">238</a></td>
+</tr>
+<tr>
+<td><p>Gardens and corrals of the Pueblos</p></td>
+<td class="number"><a href="#page214">214</a>-<a
+href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>Gardens and garden walls</p></td>
+<td class="number"><a href="#page215">215</a>-<a
+href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>Garden walls, how constructed</p></td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td><p>Gateway at Awatubi</p></td>
+<td class="number"><a href="#page049">49</a></td>
+</tr>
+<tr>
+<td><p>Gateway jambs at Kin-tiel, finish of</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>Gateways, probable existence in Kin-tiel of</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td><p>Gateways and covered passages described</p></td>
+<td class="number"><a href="#page180">180</a>-<a
+href="#page182">182</a></td>
+</tr>
+<tr>
+<td><p>Gateways of corrals</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Gatschet, A. S., work of</p></td>
+<td class="number roman"><a href="#pageXX">XX</a>,
+<a href="#pageXXI">XXI</a>, <a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>Genesis myth of the Tusayan</p></td>
+<td class="number"><a href="#page016">16</a></td>
+</tr>
+<tr>
+<td><p>Gentes of Tusayan, grouping of houses by</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>land apportionment by</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>list of traditionary</p></td>
+<td class="number"><a href="#page038">38</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>localization of</p></td>
+<td class="number"><a href="#page104">104</a>-<a
+href="#page108">108</a></td>
+</tr>
+<tr>
+<td><p>Georgia, archeologic work in</p></td>
+<td class="number roman"><a href="#pageXIX">XIX</a></td>
+</tr>
+<tr>
+<td><p>Girders supporting upper walls</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan houses supported by piers</p></td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td><p>Glass used in modern Pueblo windows</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>Glazing of Pueblo windows</p></td>
+<td class="number"><a href="#page196">196</a>, <a
+href="#page197">197</a></td>
+</tr>
+<tr>
+<td><p>Goat kiva of Walpi, height of</p></td>
+<td class="number"><a href="#page119">119</a></td>
+</tr>
+<tr>
+<td><p>Gourd used as roof drain</p></td>
+<td class="number"><a href="#page154">154</a>, <a
+href="#page155">155</a></td>
+</tr>
+<tr>
+<td><p>Grass, use of, in roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>Graves, probable existence of, in Kin-tiel</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td><p>Gravestones at K’iakima</p></td>
+<td class="number"><a href="#page085">85</a>, <a
+href="#page086">86</a>, <a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>Greasewood, the ordinary kiva fuel</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td>Grinding stones. See Metate; Milling.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Ground plan, Mashongnavi room</p></td>
+<td class="number"><a href="#page108">108</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shupaulovi kiva</p></td>
+<td class="number"><a href="#page125">125</a></td>
+</tr>
+<tr>
+<td><p>Ground plans of Zuñi and Tusayan compared</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>of mesa villages influenced by prevailing winds</p></td>
+<td class="number"><a href="#page182">182</a></td>
+</tr>
+<tr>
+<td><p>Guyave or piki oven</p></td>
+<td class="number"><a href="#page173">173</a>, <a
+href="#page175">175</a></td>
+</tr>
+<tr>
+<td><p>Gyarzobi or Paroguet kiva, roof timbers of</p></td>
+<td class="number"><a href="#page120">120</a></td>
+</tr>
+<tr>
+<td><p>Gypsum used as whitewash</p></td>
+<td class="number"><a href="#page073">73</a>, <a
+href="#page074">74</a>, <a href="#page172">172</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_H" id="index_H">H.</a></td>
+</tr>
+<tr>
+<td><p>Hairdressing among the Tusayan</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Halona, description of</p></td>
+<td class="number"><a href="#page088">88</a>, <a
+href="#page089">89</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>remains of the nucleus of Zuñi</p></td>
+<td class="number"><a href="#page097">97</a>, <a
+href="#page098">98</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>walls of the nucleus of modern Zuñi</p></td>
+<td class="number"><a href="#page138">138</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>stone-close at, described</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>“Halving” of timbers in kiva trap-frames</p></td>
+<td class="number"><a href="#page206">206</a></td>
+</tr>
+<tr>
+<td><p>Hampassawan, description of</p></td>
+<td class="number"><a href="#page083">83</a>-<a
+href="#page085">85</a></td>
+</tr>
+<tr>
+<td><p>Hand-holds cut in faces of cliffs</p></td>
+<td class="number"><a href="#page191">191</a></td>
+</tr>
+<tr>
+<td><p>Hand-holds in frames of trap-doors</p></td>
+<td class="number"><a href="#page192">192</a></td>
+</tr>
+<tr>
+<td><p>Hano, Asa group occupy site of</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page061">61</a>, <a
+href="#page062">62</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>direction of kivas of</p></td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kiva, ownership of</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kivas, list of</p></td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>rude transom over roof beam in</p></td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>sealed openings in</p></td>
+<td class="number"><a href="#page199">199</a></td>
+</tr>
+<tr>
+<td><p>Hano people, length of time spent in Tusayan by the</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>received by the Tusayan</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>trouble between the Walpi and</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Hanomuh, the inhabitants of Hano</p></td>
+<td class="number"><a href="#page017">17</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>definition of</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td><p>Hano traditions regarding settlement in Tusayan</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>Harvest time, how determined in Zuñi</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>Hasjelti and Hostjoghon, mythical history of</p></td>
+<td class="number"><a href="#page277">277</a></td>
+</tr>
+<tr>
+<td><p>Hasjelti Dailjis and Navajo sand painting, notice of paper by
+James Stevenson on</p></td><td class="number roman"><a href="#pageXXXIV">XXXIV</a>-<a href="#pageXXXVI">XXXVI</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>paper by James Stevenson on</p></td>
+<td class="number"><a href="#page229">229</a>-<a
+href="#page285">285</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Hatchways to pueblo houses</p></td>
+<td class="number"><a href="#page110">110</a>, <a
+href="#page120">120</a>, <a href="#page121">121</a>, <a href="#page124">124</a>, <a href="#page127">127</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Hawikuh, description of</p></td>
+<td class="number"><a href="#page080">80</a>, <a
+href="#page081">81</a></td>
+</tr>
+<tr>
+<td><p>Hawikuh church, durability of masonry of</p></td>
+<td class="number"><a href="#page138">138</a></td>
+</tr>
+<tr>
+<td><p>Hemenway Southwestern Archeological Expedition, excavations at
+Halona</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>Henshaw, Henry W., work of</p></td>
+<td class="number roman"><a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>Hewitt, John N. B., work of</p></td>
+<td class="number roman"><a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>High-house people, a Navajo clan</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td>
+<a name="page291" id="page291"> </a>
+<p>Hinged sashes not in use in Zuñi</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td><p>Hinges of Pueblo doors</p></td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>Hodge, F. Webb, on stone-close of Halona</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>Hoffman, W. J., work of</p></td>
+<td class="number roman"><a href="#pageXXI">XXI</a>-<a href="#pageXXIII">XXIII</a>, <a href="#pageXXIX">XXIX</a></td>
+</tr>
+<tr>
+<td><p>Holmes, William H., work</p></td><td class="number roman"><a
+href="#pageXXV">XXV</a>, <a href="#pageXXVI">XXVI</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on ruins of the San Juan</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>Homólobi, the early home of the Sun and Water peoples</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>legend of Water people concerning</p></td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td><p>Hopituh, the native name of the Tusayan</p></td>
+<td class="number"><a href="#page017">17</a></td>
+</tr>
+<tr>
+<td><p>Hopituh marriage within phratries and gentes</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td><p>Horn House, description of ruin of</p></td>
+<td class="number"><a href="#page050">50</a>, <a
+href="#page051">51</a></td>
+</tr>
+<tr>
+<td><p>Horn people migration legend</p></td>
+<td class="number"><a href="#page018">18</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>early settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page019">19</a></td>
+</tr>
+<tr>
+<td><p>House-building rites of Tusayan</p></td>
+<td class="number"><a href="#page100">100</a>-<a
+href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>House clusters in Zuñi, arrangement of</p></td>
+<td class="number"><a href="#page098">98</a></td>
+</tr>
+<tr>
+<td><p>Hungo Pavie, finish of roofs in</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_I" id="index_I">I.</a></td>
+</tr>
+<tr>
+<td><p>Indian synonymy, work on</p></td>
+<td class="number roman"><a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>Interior arrangement of pueblos</p></td>
+<td class="number"><a href="#page108">108</a>-<a
+href="#page111">111</a></td>
+</tr>
+<tr>
+<td><p>Interior of Zuñi house described</p></td>
+<td class="number"><a href="#page110">110</a></td>
+</tr>
+<tr>
+<td><p>Irrigation of gardens near Walpi</p></td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_J" id="index_J">J.</a></td>
+</tr>
+<tr>
+<td><p>Jackson, W. H., on ruins of the San Juan</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>photographs of pueblo ruins by</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>describes fireplace of Echo Cave</p></td>
+<td class="number"><a href="#page168">168</a></td>
+</tr>
+<tr>
+<td><p>Jar of large size used for storage</p></td>
+<td class="number"><a href="#page210">210</a></td>
+</tr>
+<tr>
+<td><p>Jars used in chimney construction</p></td>
+<td class="number"><a href="#page180">180</a></td>
+</tr>
+<tr>
+<td><p>Jeditoh group of ruins</p></td>
+<td class="number"><a href="#page052">52</a>, <a
+href="#page053">53</a></td>
+</tr>
+<tr>
+<td><p>Jemez oven-opening described</p></td>
+<td class="number"><a href="#page165">165</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_K" id="index_K">K.</a></td>
+</tr>
+<tr>
+<td><p>Kaékibi, an ancient pueblo</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Kaiwáika. See Laguna</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Kápung. See Santa Clara</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Katchina kiva of Oraibi</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td><p>Katchina people depart from Oraibi for eastern Tusayan
+villages</p></td>
+<td class="number"><a href="#page026">26</a>, <a
+href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>Katchinkihu, occurrence of, in ruined kiva near Sikyatki</p></td>
+<td class="number"><a href="#page117">117</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>described</p></td>
+<td class="number"><a href="#page121">121</a>, <a
+href="#page123">123</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shupaulovi kiva</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Mashongnavi mungkiva</p></td>
+<td class="number"><a href="#page127">127</a></td>
+</tr>
+<tr>
+<td><p>Kentucky, archeologic work in</p></td>
+<td class="number roman"><a href="#pageXX">XX</a></td>
+</tr>
+<tr>
+<td><p>Ketchipauan church built of stone</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>Ketchipauan, description of</p></td>
+<td class="number"><a href="#page081">81</a>-<a
+href="#page083">83</a></td>
+</tr>
+<tr>
+<td><p>Kiáini. See High-house people</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>K’iakima, description of</p></td>
+<td class="number"><a href="#page085">85</a>, <a
+href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>upright stone slabs at</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>Kikoli rooms occupied in winter</p></td>
+<td class="number"><a href="#page103">103</a>, <a
+href="#page104">104</a>, <a href="#page131">131</a></td>
+</tr>
+<tr>
+<td><p>Kin-tiel, description of</p></td>
+<td class="number"><a href="#page091">91</a>-<a
+href="#page094">94</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>compared with Nutria</p></td>
+<td class="number"><a href="#page094">94</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>compared with Pescado</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>plan of, prearranged</p></td>
+<td class="number"><a href="#page100">100</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>compared with Oraibi</p></td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>occurrence of upright stone slab at</p></td>
+<td class="number"><a href="#page147">147</a>-<a
+href="#page148">148</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>beams of ruins of</p></td>
+<td class="number"><a href="#page149">149</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>upper room of, paved with stone</p></td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fireplace in room of</p></td>
+<td class="number"><a href="#page163">163</a>, <a
+href="#page168">168</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>defensive gateway at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>finish of gateway jambs at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>circular doorway at, described</p></td>
+<td class="number"><a href="#page192">192</a>, <a
+href="#page193">193</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>openings at, of uniform height</p></td>
+<td class="number"><a href="#page194">194</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>site of</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>Kisákobi, description of pueblo of</p></td>
+<td class="number"><a href="#page021">21</a></td>
+</tr>
+<tr>
+<td><p>Kishoni, or uncovered shade</p></td>
+<td class="number"><a href="#page217">217</a>-<a
+href="#page218">218</a></td>
+</tr>
+<tr>
+<td><p>“Kisi” construction</p></td>
+<td class="number"><a href="#page217">217</a>-<a
+href="#page219">219</a></td>
+</tr>
+<tr>
+<td><p>Kitdauwi&mdash;the house song of Tusayan</p></td>
+<td class="number"><a href="#page118">118</a>-<a
+href="#page119">119</a></td>
+</tr>
+<tr>
+<td><p>Kiva, study of construction of</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>remains of, at Payupki</p></td>
+<td class="number"><a href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Mashongnavi</p></td>
+<td class="number"><a href="#page066">66</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>of Moen-kopi</p></td>
+<td class="number"><a href="#page078">78</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>origin of the name</p></td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ancient form of</p></td>
+<td class="number"><a href="#page116">116</a>, <a
+href="#page117">117</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>native explanation of position of</p></td>
+<td class="number"><a href="#page118">118</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>duties of mungwi, or chief of the</p></td>
+<td class="number"><a href="#page133">133</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ownership of</p></td>
+<td class="number"><a href="#page133">133</a>-<a
+href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>motive for building</p></td>
+<td class="number"><a href="#page134">134</a>-<a
+href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>significance of structural plan of</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>measurements of</p></td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>hatchways of</p></td>
+<td class="number"><a href="#page201">201</a>-<a
+href="#page202">202</a>, <a href="#page205">205</a>-<a href="#page207">207</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>openings of, at Acoma</p></td>
+<td class="number"><a href="#page207">207</a></td>
+</tr>
+<tr>
+<td class="inset">See Mungkiva.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Kivas, excavated, at Awatubi</p></td>
+<td class="number"><a href="#page050">50</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Hano</p></td>
+<td class="number"><a href="#page061">61</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Sichumovi</p></td>
+<td class="number"><a href="#page062">62</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Walpi</p></td>
+<td class="number"><a href="#page063">63</a>, <a
+href="#page064">64</a>, <a href="#page065">65</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shupaulovi</p></td>
+<td class="number"><a href="#page072">72</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shumopavi</p></td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Kin-tiel and Cibola compared</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi, where located during Spanish occupancy</p></td>
+<td class="number"><a href="#page099">99</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>in Tusayan</p></td>
+<td class="number"><a href="#page111">111</a>-<a
+href="#page137">137</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>typical plans of</p></td>
+<td class="number"><a href="#page118">118</a>-<a
+href="#page129">129</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>dimensions of</p></td>
+<td class="number"><a href="#page118">118</a>, <a
+href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>of, measurements of</p></td>
+<td class="number"><a href="#page118">118</a>, <a
+href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>annually repaired by women</p></td>
+<td class="number"><a href="#page129">129</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>uses of</p></td>
+<td class="number"><a href="#page130">130</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>nomenclature of</p></td>
+<td class="number"><a href="#page130">130</a>, <a
+href="#page223">223</a>-<a href="#page223">223</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan, list of</p></td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>nonuse of chimneys in</p></td>
+<td class="number"><a href="#page178">178</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi, stone window-frames of</p></td>
+<td class="number"><a href="#page197">197</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>circular, absent in Cibolan pueblos</p></td>
+<td class="number"><a href="#page224">224</a></td>
+</tr>
+<tr>
+<td><ins class="correction"
+title="alphabetized between ‘Katchinkihu’ and ‘Kentucky’">Kótite</ins>.
+See Cochití.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Kwaituki, description of ruin of</p></td>
+<td class="number"><a href="#page056">56</a>-<a
+href="#page057">57</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Kwálakwai, Hano tradition related by</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>Kwetcap tutwi, the second pueblo of the snake people of
+Tusayan</p></td>
+<td class="number"><a href="#page018">18</a></td>
+</tr>
+</table>
+
+<table class="index" summary="index continues">
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_L" id="index_L">L.</a></td>
+</tr>
+<tr>
+<td><p>Ladders, arrangement in Tusayan kiva</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>withdrawal of rungs to prevent use of</p></td>
+<td class="number"><a href="#page113">113</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>significance of position of, in kivas</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>described</p></td>
+<td class="number"><a href="#page156">156</a>-<a
+href="#page162">162</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td class="inset">
+<p>second-story terrace of Tusayan reached principally by</p></td>
+<td class="number"><a href="#page182">182</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>openings for, in roofs</p></td>
+<td class="number"><a href="#page205">205</a></td>
+</tr>
+<tr>
+<td><p>Laguna, arrival of the Asanyumu at</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Lalénkobáki, a female society of Tusayan</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td><p>Land apportionment by gentes in Tusayan</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td><p>Language of the Asa and Hano of Tusayan</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Languages of Tusayan, tradition regarding difference in</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td><p>Las Animas ruins, trap-door frames in</p></td>
+<td class="number"><a href="#page206">206</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td>
+<a name="page292" id="page292"> </a>
+<p>Latches of doors</p></td>
+<td class="number"><a href="#page186">186</a>-<a
+href="#page187">187</a></td>
+</tr>
+<tr>
+<td><p>Latch strings used on Zuñi doors</p></td>
+<td class="number"><a href="#page183">183</a></td>
+</tr>
+<tr>
+<td><p>Lathing or wattling of kiva walls</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>Ledges of masonry in kivas</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>Ledges or benches around rooms</p></td>
+<td class="number"><a href="#page213">213</a></td>
+</tr>
+<tr>
+<td><p>Lenbaki, society of Tusayan</p></td>
+<td class="number"><a href="#page018">18</a></td>
+</tr>
+<tr>
+<td><p>Light, method of introducing, in inner rooms</p></td>
+<td class="number"><a href="#page207">207</a></td>
+</tr>
+<tr>
+<td><p>Lighting, method of, in crowded portions of Zuñi</p></td>
+<td class="number"><a href="#page099">99</a></td>
+</tr>
+<tr>
+<td><p>Lintels of old windows embedded in masonry</p></td>
+<td class="number"><a href="#page200">200</a></td>
+</tr>
+<tr>
+<td><p>Lizard people move from Walpi</p></td>
+<td class="number"><a href="#page031">31</a>, <a
+href="#page038">38</a></td>
+</tr>
+<tr>
+<td><p>Lock and key of wood, how made</p></td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td><p>Logs (the floating), Navajo myth</p></td>
+<td class="number"><a href="#page278">278</a></td>
+</tr>
+<tr>
+<td><p>Loom appurtenances</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>Loom posts of kivas</p></td>
+<td class="number"><a href="#page128">128</a>-<a
+href="#page129">129</a>, <a href="#page132">132</a></td>
+</tr>
+<tr>
+<td><p>Loophole-like openings in pueblo buildings</p></td>
+<td class="number"><a href="#page127">127</a>, <a
+href="#page198">198</a></td>
+</tr>
+<tr>
+<td><p>Louisiana, linguistic work in</p></td>
+<td class="number roman"><a href="#pageXX">XX</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_M" id="index_M">M.</a></td>
+</tr>
+<tr>
+<td><p>Macomb, J. N., earthenware from North Carolina presented
+by</p></td>
+<td class="number roman"><a href="#pageXXVI">XXVI</a></td>
+</tr>
+<tr>
+<td><p>Mallery, Garrick, work of</p></td>
+<td class="number roman"><a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>Mamzrántiki, an Oraibi society of women</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td><p>Mandan ladder described and figured</p></td>
+<td class="number"><a href="#page158">158</a></td>
+</tr>
+<tr>
+<td><p>Maricopa, myth of the Water people of Tusayan concerning
+the</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td><p>Marriage of the Hopituh within phratries and gentes</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td><p>Mashongnavi, origin of name of</p></td>
+<td class="number"><a href="#page026">26</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>settlement of Paroquet and Katchina peoples in</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>settlement of the Water people at</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of ruins of</p></td>
+<td class="number"><a href="#page048">48</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>age of masonry at</p></td>
+<td class="number"><a href="#page066">66</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page066">66</a>-<a
+href="#page070">70</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ground plan of room of</p></td>
+<td class="number"><a href="#page108">108</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>direction of kivas of</p></td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of dais of kiva at</p></td>
+<td class="number"><a href="#page122">122</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>list of kivas at</p></td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>wall decoration at</p></td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>notched ladder of</p></td>
+<td class="number"><a href="#page157">157</a>-<a
+href="#page158">158</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>pi-gummi ovens at</p></td>
+<td class="number"><a href="#page163">163</a>-<a
+href="#page164">164</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>shrines of</p></td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>chimney hoods of</p></td>
+<td class="number"><a href="#page170">170</a>-<a
+href="#page171">171</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>second-story fireplace at</p></td>
+<td class="number"><a href="#page174">174</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>doorway with transom at</p></td>
+<td class="number"><a href="#page190">190</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>corrals of rude stonework at</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td class="inset">See Old Mashongnavi.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Masks representing various Navajo gods, Indian uses of</p></td>
+<td class="number"><a href="#page248">248</a>, <a
+href="#page249">249</a>, <a href="#page253">253</a></td>
+</tr>
+<tr>
+<td><p>Masonry, ancient, at Nutria</p></td>
+<td class="number"><a href="#page094">94</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Ojo Caliente carelessly constructed</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>exterior, of kivas</p></td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td><p>Masonry of Pueblo Bonito, skill shown in</p></td>
+<td class="number"><a href="#page195">195</a></td>
+</tr>
+<tr>
+<td><p>Mat close for kiva hatchways</p></td>
+<td class="number"><a href="#page127">127</a>, <a
+href="#page128">128</a></td>
+</tr>
+<tr>
+<td><p>Matsaki, description of</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>sun symbol at</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>Meal, sacred, preparation of</p></td>
+<td class="number"><a href="#page256">256</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>votive, used in pueblo house-building</p></td>
+<td class="number"><a href="#page101">101</a></td>
+</tr>
+<tr>
+<td>Mealing trough. See Milling.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Medicine cigarette, in Navajo ceremonial, preparation of</p></td>
+<td class="number"><a href="#page258">258</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>disposition of, after use</p></td>
+<td class="number"><a href="#page259">259</a></td>
+</tr>
+<tr>
+<td><p>Medicine lodge, Navajo, construction of</p></td>
+<td class="number"><a href="#page237">237</a></td>
+</tr>
+<tr>
+<td><p>Medicine tubes in Navajo ceremonial</p></td>
+<td class="number"><a href="#page241">241</a>, <a
+href="#page244">244</a>, <a href="#page246">246</a>, <a href="#page250">250</a>, <a href="#page257">257</a>, <a href="#page258">258</a>, <a href="#page264">264</a></td>
+</tr>
+<tr>
+<td><p>Medicine water used in Navajo ceremonial</p></td>
+<td class="number"><a href="#page255">255</a>, <a
+href="#page263">263</a>, <a href="#page269">269</a></td>
+</tr>
+<tr>
+<td><p>Metate used as roof-drain</p></td>
+<td class="number"><a href="#page154">154</a>, <a
+href="#page155">155</a></td>
+</tr>
+<tr>
+<td><p>Metates, or grinding stones, how arranged in pueblo
+houses</p></td>
+<td class="number"><a href="#page109">109</a>, <a
+href="#page110">110</a>, <a href="#page210">210</a>, <a href="#page211">211</a></td>
+</tr>
+<tr>
+<td><p>Mexico, linguistic work in</p></td><td class="number roman"><a
+href="#pageXX">XX</a>, <a href="#pageXXI">XXI</a></td>
+</tr>
+<tr>
+<td><p>Middleton, James D., work of</p></td><td class="number
+roman"><a href="#pageXX">XX</a>, <a href="#pageXXIV">XXIV</a></td>
+</tr>
+<tr>
+<td><p>Migration, effect of, upon pueblo architecture</p></td>
+<td class="number"><a href="#page015">15</a></td>
+</tr>
+<tr>
+<td><p>Migration of the Tusayan</p></td>
+<td class="number"><a href="#page017">17</a></td>
+</tr>
+<tr>
+<td><p>Migration of Tusayan Water people</p></td>
+<td class="number"><a href="#page031">31</a>, <a
+href="#page032">32</a></td>
+</tr>
+<tr>
+<td><p>Migration of the Horn people</p></td>
+<td class="number"><a href="#page018">18</a>, <a
+href="#page019">19</a></td>
+</tr>
+<tr>
+<td><p>Migration of the Bear people of Tusayan</p></td>
+<td class="number"><a href="#page020">20</a></td>
+</tr>
+<tr>
+<td><p>Migration of the <ins class="correction"
+title="text reads ‘Asanynmu’">Asanyumu</ins> of Tusayan</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Milling troughs of Pueblo households</p></td>
+<td class="number"><a href="#page109">109</a>, <a
+href="#page210">210</a>, <a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>Mindeleff, Cosmos, work of</p></td><td class="number roman"><a
+href="#pageXXVI">XXVI</a>, <a href="#pageXXVII">XXVII</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>acknowledgments to</p></td>
+<td class="number"><a href="#page014">14</a>, <a
+href="#page015">15</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on traditional history of Tusayan</p></td>
+<td class="number"><a href="#page016">16</a>-<a
+href="#page041">41</a></td>
+</tr>
+<tr>
+<td><p>Mindeleff, Victor, work of</p></td><td class="number roman"><a
+href="#pageXXVI">XXVI</a>, <a href="#pageXXX">XXX</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>notice of paper on pueblo architecture by</p></td>
+<td class="number roman"><a href="#pageXXIV">XXIV</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>paper on pueblo architecture</p></td>
+<td class="number"><a href="#page003">3</a>-<a href="#page228">228</a></td>
+</tr>
+<tr>
+<td><p>Mishiptonga, description of ruin of</p></td>
+<td class="number"><a href="#page052">52</a>-<a
+href="#page053">53</a></td>
+</tr>
+<tr>
+<td><p>Mission buildings of Shumopavi</p></td>
+<td class="number"><a href="#page027">27</a>, <a
+href="#page075">75</a>-<a href="#page076">76</a></td>
+</tr>
+<tr>
+<td><p>Mission house at Walpi, timbers of, used in Walpi kiva</p></td>
+<td class="number"><a href="#page119">119</a></td>
+</tr>
+<tr>
+<td><p>Missions of Tusayan</p></td>
+<td class="number"><a href="#page022">22</a>, <a
+href="#page049">49</a></td>
+</tr>
+<tr>
+<td><p>Mississippi, archeologic work in</p></td>
+<td class="number roman"><a href="#pageXIX">XIX</a></td>
+</tr>
+<tr>
+<td><p>Moen-kopi surveyed and studied</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of ruins of</p></td>
+<td class="number"><a href="#page053">53</a>-<a
+href="#page054">54</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of village of</p></td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td><p>Mole people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>Montezuma Canyon ruins, use of large stone blocks in</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>Monument marking boundary of Oraibi and Shumopavi</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>Mooney, James, work of</p></td>
+<td class="number roman"><a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>Morgan, L. H., Mandan ladder described by</p></td>
+<td class="number"><a href="#page158">158</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on trap-door frames in Las Animas ruins</p></td>
+<td class="number"><a href="#page205">205</a></td>
+</tr>
+<tr>
+<td><p>Mormon and Pueblo building compared</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Mormons, effect of the, upon development of Moen-kopi</p></td>
+<td class="number"><a href="#page077">77</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>establishment of woolen mill at Moen-kopi by the</p></td>
+<td class="number"><a href="#page078">78</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fort built by, at Moen-kopi</p></td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>lock and key contrivance of</p></td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Mortar of adobe mud</p></td>
+<td class="number"><a href="#page137">137</a></td>
+</tr>
+<tr>
+<td><p>Mortars used in Pueblo households</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>Mortised door in Zuñi house</p></td>
+<td class="number"><a href="#page110">110</a>,<a
+href="#page186">186</a></td>
+</tr>
+<tr>
+<td><p>Mummy cave, Arizona, ruin in</p></td>
+<td class="number"><a href="#page064">64</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>finish of roofs in ruins of</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>Mungkiva, Mashongnavi</p></td>
+<td class="number"><a href="#page127">127</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>of Shupaulovi</p></td>
+<td class="number"><a href="#page113">113</a>, <a
+href="#page122">122</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="page293" id="page293"> </a>
+<a name="index_N" id="index_N">N.</a></td>
+</tr>
+<tr>
+<td><p>Naiyenesgony and Tobaidischinni, mythical history of</p></td>
+<td class="number"><a href="#page279">279</a>-<a
+href="#page280">280</a></td>
+</tr>
+<tr>
+<td><p>Nambé, Tewa pueblo</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Navajo, Asa of Tusayan live among</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>huts of, closed with blankets</p></td>
+<td class="number"><a href="#page189">189</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>method of sheep-herding compared with Pueblo</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>paper on Hasjelti Dailjis ceremonial and sand painting of</p></td>
+<td class="number"><a href="#page229">229</a>-<a
+href="#page285">285</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Nelson, E. W., work of</p></td>
+<td class="number roman"><a href="#pageXXVII">XXVII</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>graves unearthed by</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>collection of stone-closes by</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>New York, archeologic work in</p></td>
+<td class="number roman"><a href="#pageXIX">XIX</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ethnologic work in</p></td>
+<td class="number roman"><a href="#pageXXI">XXI</a></td>
+</tr>
+<tr>
+<td><p>Niches, use of, in kivas</p></td>
+<td class="number"><a href="#page121">121</a>, <a
+href="#page122">122</a></td>
+</tr>
+<tr>
+<td><p>Niches formed in old window openings</p></td>
+<td class="number"><a href="#page110">110</a>, <a
+href="#page200">200</a>, <a href="#page208">208</a>-<a href="#page209">209</a></td>
+</tr>
+<tr>
+<td><p>Nomenclature of Tusayan structural details</p></td>
+<td class="number"><a href="#page220">220</a>-<a
+href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>North Carolina, work in</p></td><td class="number roman"><a
+href="#pageXXI">XXI</a>-<a href="#pageXXII">XXII</a></td>
+</tr>
+<tr>
+<td><p>Notched logs used as ladders</p></td>
+<td class="number"><a href="#page157">157</a>-<a
+href="#page158">158</a></td>
+</tr>
+<tr>
+<td><ins class="correction" title="alphabetized before ‘Notched logs’">Númi</ins>. See Nambé.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Nutria, compared with Kin-tiel</p></td>
+<td class="number"><a href="#page091">91</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page091">91</a>-<a
+href="#page095">95</a></td>
+</tr>
+<tr>
+<td><p>Nuvayauma, old Mashongnavi tradition related by</p></td>
+<td class="number"><a href="#page047">47</a>-<a
+href="#page048">48</a></td>
+</tr>
+<tr>
+<td><p>Nuvwatikyuobi kiva</p></td>
+<td class="number"><a href="#page120">120</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_O" id="index_O">O.</a></td>
+</tr>
+<tr>
+<td><p>Oak mound kiva, Tusayan, decadence of membership of</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td><p>Office work</p></td><td class="number roman"><a href="#pageXXIII">XXIII</a>-<a href="#pageXXIX">XXIX</a></td>
+</tr>
+<tr>
+<td><p>Ohio, archeologic work in</p></td><td class="number roman"><a
+href="#pageXIX">XIX</a>, <a href="#pageXX">XX</a></td>
+</tr>
+<tr>
+<td>Ohke. See San Juan.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Ojo Caliente, a modern village</p></td>
+<td class="number"><a href="#page054">54</a>, <a
+href="#page096">96</a>-<a href="#page097">97</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>chinked walls of</p></td>
+<td class="number"><a href="#page142">142</a></td>
+</tr>
+<tr>
+<td><p>Old man and woman of the first world, Navajo myth</p></td>
+<td class="number"><a href="#page284">284</a>-<a
+href="#page285">285</a></td>
+</tr>
+<tr>
+<td><p>Old Mashongnavi, tradition concerning occupation of</p></td>
+<td class="number"><a href="#page047">47</a>-<a
+href="#page048">48</a></td>
+</tr>
+<tr>
+<td><p>Openings, splayed, in Ketchipauan church</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>walls of Tâaaiyalana structures</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Kin-tiel walls</p></td>
+<td class="number"><a href="#page092">92</a>, <a
+href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>oblique Zuñi</p></td>
+<td class="number"><a href="#page098">98</a>, <a
+href="#page207">207</a>-<a href="#page208">208</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>to kivas</p></td>
+<td class="number"><a href="#page113">113</a>-<a
+href="#page114">114</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>in wall of Zuñi kiva</p></td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>in lee walls</p></td>
+<td class="number"><a href="#page182">182</a></td>
+</tr>
+<tr>
+<td><p>Openings of Pueblo houses banded with whitewash</p></td>
+<td class="number"><a href="#page145">145</a>-<a
+href="#page146">146</a></td>
+</tr>
+<tr>
+<td><p>Oraibi, retirement of Sikyátki inhabitants to</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>departure of Ketchina and Paroquet peoples from</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>settlement by the Bears of</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>traditions regarding first settlement of</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>settlement of the Water people at</p></td>
+<td class="number"><a href="#page033">33</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>affray between the Walpi and</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page076">76</a>-<a
+href="#page077">77</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>families occupying</p></td>
+<td class="number"><a href="#page105">105</a>-<a
+href="#page108">108</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>direction of kivas of</p></td>
+<td class="number"><a href="#page115">115</a>-<a
+href="#page116">116</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>rare use of plastering on outer walls of</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>notched ladders described and figured</p></td>
+<td class="number"><a href="#page157">157</a>-<a
+href="#page158">158</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>stone steps at, figured</p></td>
+<td class="number"><a href="#page161">161</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>corral walls at, laid without mortar</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>distribution of gentes of</p></td>
+<td class="number"><a href="#page104">104</a>-<a
+href="#page105">105</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kiva for women</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>list of kivas of</p></td>
+<td class="number"><a href="#page137">137</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kiva, hatchway of</p></td>
+<td class="number"><a href="#page201">201</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>corrals at, large size of</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Oraibi-Shumopavi boundary stone</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>Oraibi wash, ruins on the</p></td>
+<td class="number"><a href="#page054">54</a>-<a
+href="#page056">56</a></td>
+</tr>
+<tr>
+<td><p>Orientation of kivas</p></td>
+<td class="number"><a href="#page115">115</a>-<a
+href="#page116">116</a></td>
+</tr>
+<tr>
+<td><p>Ovens at Pescado</p></td>
+<td class="number"><a href="#page095">95</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>upon roofs</p></td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>various kinds described</p></td>
+<td class="number"><a href="#page162">162</a>-<a
+href="#page166">166</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>in Zuñi</p></td>
+<td class="number"><a href="#page164">164</a>-<a
+href="#page165">165</a></td>
+</tr>
+<tr>
+<td><p>Oven-shaped structures described and figured</p></td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td><p>Oven-surface imbedded with pottery scales</p></td>
+<td class="number"><a href="#page139">139</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_P" id="index_P">P.</a></td>
+</tr>
+<tr>
+<td><p>Paintings on kiva walls</p></td>
+<td class="number"><a href="#page131">131</a></td>
+</tr>
+<tr>
+<td><p>Palát Kivabi, the pristine habitat of the Squash and Sun people
+of Tusayan</p></td>
+<td class="number"><a href="#page025">25</a>, <a
+href="#page029">29</a></td>
+</tr>
+<tr>
+<td><p>Palmer, Dr. E., Mexican clay vessels presented by</p></td>
+<td class="number roman"><a href="#pageXXVI">XXVI</a></td>
+</tr>
+<tr>
+<td><p>Paneled doors in modern pueblos</p></td>
+<td class="number"><a href="#page184">184</a>-<a
+href="#page186">186</a></td>
+</tr>
+<tr>
+<td><p><ins class="correction"
+title="spelling unchanged">Parallelogramic</ins>
+form of Tusayan buildings</p></td>
+<td class="number"><a href="#page102">102</a>-<a
+href="#page118">118</a></td>
+</tr>
+<tr>
+<td><p>Paroquet people, settlement in Shumopavi of the</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Partitions in Ketchipauan church</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td><p>Partitions of upper story supported by beams</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td><p>Passageways, Shupaulovi</p></td>
+<td class="number"><a href="#page072">72</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shumopavi</p></td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>rarity of, at Oraibi</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page180">180</a>-<a
+href="#page182">182</a></td>
+</tr>
+<tr>
+<td><p>Paving Shupaulovi kiva</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>Paving stones of kiva floor, how finished</p></td>
+<td class="number"><a href="#page125">125</a></td>
+</tr>
+<tr>
+<td><p>Payupki, tradition concerning pueblo of</p></td>
+<td class="number"><a href="#page040">40</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>migration legend</p></td>
+<td class="number"><a href="#page040">40</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page059">59</a>-<a
+href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>finish of masonry of</p></td>
+<td class="number"><a href="#page143">143</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fragments of passage wall at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>Peaches planted by the Asa people</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Pegs, deer horns used as, in Zuñi</p></td>
+<td class="number"><a href="#page111">111</a></td>
+</tr>
+<tr>
+<td><p>Pegs for suspending kiva fuel</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>Peña Blanca formerly inhabited by the Hano</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>Peñasco Blanco, occurrence of upright stone slab at</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>method of roof construction at</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>Pescado compared with Kin-tiel</p></td>
+<td class="number"><a href="#page091">91</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page095">95</a>-<a
+href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>corral walls at, how constructed</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>outside steps at</p></td>
+<td class="number"><a href="#page160">160</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ovens at, described and figured</p></td>
+<td class="number"><a href="#page165">165</a>-<a
+href="#page166">166</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fragment of stone close in steps of</p></td>
+<td class="number"><a href="#page193">193</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>stone inclosure in court of</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Pennsylvania, work in</p></td><td class="number roman"><a href="#pageXXII">XXII</a>-<a href="#pageXXIII">XXIII</a></td>
+</tr>
+<tr>
+<td><p>Pestles or crushers used with Pueblo mortars</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td>
+<a name="page294" id="page294"> </a>
+<p>Petroglyph, or sun-symbol at Matsaki</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Ketchipauan church</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>legend of the Tusayan concerning</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td><p>Phratries, Tusayan</p></td>
+<td class="number"><a href="#page024">24</a>, <a
+href="#page038">38</a></td>
+</tr>
+<tr>
+<td><p>Pictograph on Oraibi-Shumopavi boundary monument</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>Piers of masonry for supporting girders</p></td>
+<td class="number"><a href="#page151">151</a></td>
+</tr>
+<tr>
+<td>Piers. See Buttresses.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Pi-gummi ovens of Mashongnavi</p></td>
+<td class="number"><a href="#page163">163</a></td>
+</tr>
+<tr>
+<td><p>Piki or guyave oven</p></td>
+<td class="number"><a href="#page173">173</a>-<a
+href="#page175">175</a></td>
+</tr>
+<tr>
+<td><p>Piki stone, process of making</p></td>
+<td class="number"><a href="#page175">175</a></td>
+</tr>
+<tr>
+<td><p>Pilling, J. C., work of</p></td>
+<td class="number roman"><a href="#pageXXIV">XXIV</a></td>
+</tr>
+<tr>
+<td><p>Pima, myth of the Water people of Tusayan concerning the</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>opinion of the, as to ancient stone inclosures</p></td>
+<td class="number"><a href="#page216">216</a></td>
+</tr>
+<tr>
+<td><p>Pinawa, description of</p></td>
+<td class="number"><a href="#page086">86</a>, <a
+href="#page088">88</a></td>
+</tr>
+<tr>
+<td><p>Pine invariably used for kiva ladders</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td><p>Pine boughs, application for removing disease in Navajo
+ceremonials</p></td>
+<td class="number"><a href="#page247">247</a>, <a
+href="#page250">250</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>disposition of, after ceremony</p></td>
+<td class="number"><a href="#page248">248</a>, <a
+href="#page251">251</a></td>
+</tr>
+<tr>
+<td><p>Pink clay used in house decorations</p></td>
+<td class="number"><a href="#page146">146</a></td>
+</tr>
+<tr>
+<td><p>Pits for cooking</p></td>
+<td class="number"><a href="#page163">163</a></td>
+</tr>
+<tr>
+<td><p>Plan of villages, traditional mention of</p></td>
+<td class="number"><a href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>Plans and descriptions, Tusayan ruins</p></td>
+<td class="number"><a href="#page045">45</a>-<a
+href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>inhabited villages</p></td>
+<td class="number"><a href="#page061">61</a>-<a
+href="#page079">79</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Cibolan ruins</p></td>
+<td class="number"><a href="#page080">80</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi villages</p></td>
+<td class="number"><a href="#page094">94</a>-<a
+href="#page099">99</a></td>
+</tr>
+<tr>
+<td><p>Plan of pueblo houses not usually prearranged</p></td>
+<td class="number"><a href="#page100">100</a>-<a
+href="#page162">162</a></td>
+</tr>
+<tr>
+<td><p>Planting time, how determined in Zuñi</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>Plaster, frequent renewal of, at Shumopavi</p></td>
+<td class="number"><a href="#page073">73</a></td>
+</tr>
+<tr>
+<td><p>Plastering, renovation of rooms by frequent</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on outer walls in Ojo Caliente</p></td>
+<td class="number"><a href="#page096">96</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>custom formerly observed in</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on floor in Mashongnavi</p></td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kiva walls</p></td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shupaulovi kiva, condition of</p></td>
+<td class="number"><a href="#page124">124</a>-<a
+href="#page125">125</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Shupaulovi kiva</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on walls</p></td>
+<td class="number"><a href="#page140">140</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on masonry</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>chimney hoods</p></td>
+<td class="number"><a href="#page169">169</a>, <a
+href="#page172">172</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>side hole of door for fastening</p></td>
+<td class="number"><a href="#page183">183</a>-<a
+href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>Platform in floor of Tusayan kiva</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>Platform at head of steps</p></td>
+<td class="number"><a href="#page161">161</a>-<a
+href="#page162">162</a></td>
+</tr>
+<tr>
+<td>Plaza. See Court.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Plume boxes</p></td>
+<td class="number"><a href="#page210">210</a></td>
+</tr>
+<tr>
+<td><p>Plume stick, baho, or feather wand, used in Kiva consecratory
+ceremonials</p></td>
+<td class="number"><a href="#page119">119</a>-<a
+href="#page120">120</a>, <a href="#page129">129</a>, <a href="#page130">130</a></td>
+</tr>
+<tr>
+<td><p>Plume-stick shrines at Mashongnavi</p></td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td><p>Pojoaque, a Tewa pueblo</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Pokwádi. See Pojoaque</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Polaka, Hano tradition given by</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>Poles for suspension of blankets, etc.</p></td>
+<td class="number"><a href="#page110">110</a>, <a
+href="#page189">189</a>, <a href="#page208">208</a>, <a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Ponobi kiva of Oraibi, wall lathing of</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>Population, enlargement of pueblos necessitated by increase
+of</p></td>
+<td class="number"><a href="#page070">70</a></td>
+</tr>
+<tr>
+<td><p>Porch posts</p></td>
+<td class="number"><a href="#page081">81</a>, <a
+href="#page082">82</a></td>
+</tr>
+<tr>
+<td><p>Posówe, a former Tewa pueblo</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Posts of porch, remains of, at Hawikuh and Ketchipauan</p></td>
+<td class="number"><a href="#page081">81</a>, <a
+href="#page082">82</a></td>
+</tr>
+<tr>
+<td><p>Posts sunk in floor forming part of loom</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>Pots used in chimney construction</p></td>
+<td class="number"><a href="#page179">179</a>-<a
+href="#page180">180</a></td>
+</tr>
+<tr>
+<td><p>Pottery fragments, Horn House ruin</p></td>
+<td class="number"><a href="#page051">51</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Kwaituki</p></td>
+<td class="number"><a href="#page057">57</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ruin on Oraibi wash</p></td>
+<td class="number"><a href="#page055">55</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>used in mud-plastered walls</p></td>
+<td class="number"><a href="#page139">139</a></td>
+</tr>
+<tr>
+<td><p>Pottery of Payupki, character of</p></td>
+<td class="number"><a href="#page060">60</a></td>
+</tr>
+<tr>
+<td><p>Poultry house of Sichumovi</p></td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td><p>Powell, J. W., work of</p></td>
+<td class="number roman"><a href="#pageXXIII">XXIII</a></td>
+</tr>
+<tr>
+<td><p>Prayer, on offering medicine tubes to Navajo gods</p></td>
+<td class="number"><a href="#page244">244</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>to the Esthetle</p></td>
+<td class="number"><a href="#page272">272</a></td>
+</tr>
+<tr>
+<td><p>Prayer plume, or baho, used in kiva consecratory
+ceremonials</p></td>
+<td class="number"><a href="#page119">119</a>, <a
+href="#page120">120</a>, <a href="#page129">129</a>, <a href="#page130">130</a></td>
+</tr>
+<tr>
+<td><p>Prayer sticks, how prepared for Navajo ceremonial</p></td>
+<td class="number"><a href="#page242">242</a>-<a
+href="#page243">243</a>, <a href="#page264">264</a></td>
+</tr>
+<tr>
+<td><p>Props used for fastening wooden doors</p></td>
+<td class="number"><a href="#page183">183</a></td>
+</tr>
+<tr>
+<td><p>Publication during year</p></td>
+<td class="number roman"><a href="#pageXVIII">XVIII</a></td>
+</tr>
+<tr>
+<td><p>Pueblo architecture, notice of Mr. Victor Mindeleff’s paper
+on</p></td><td class="number roman"><a href="#pageXXX">XXX</a>, <a
+href="#pageXXXIV">XXXIV</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>study of, by Victor Mindeleff</p></td>
+<td class="number"><a href="#page008">8</a>-<a href="#page228">228</a></td>
+</tr>
+<tr>
+<td><p>Pueblo Bonito, additions to</p></td>
+<td class="number"><a href="#page070">70</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>the largest yet examined</p></td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>finish of roof of</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>stairway described</p></td>
+<td class="number"><a href="#page160">160</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>symmetry of arrangement of outer openings of</p></td>
+<td class="number"><a href="#page195">195</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>skill shown in masonry of</p></td>
+<td class="number"><a href="#page195">195</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Pueblo buildings, mode of additions to</p></td>
+<td class="number"><a href="#page070">70</a>, <a
+href="#page097">97</a>, <a href="#page098">98</a>, <a href="#page102">102</a>, <a href="#page148">148</a>-<a href="#page149">149</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Pueblo construction in Tusayan and Cibola, details of</p></td>
+<td class="number"><a href="#page137">137</a>-<a
+href="#page223">223</a></td>
+</tr>
+<tr>
+<td>Pueblo Grande. See Kin-tiel.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Pueblo models constructed</p></td>
+<td class="number roman"><a href="#pageXXVII">XXVII</a></td>
+</tr>
+<tr>
+<td><p>Pueblo openings, carelessness in placing</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td><p>Pueblo remains, area occupied by</p></td>
+<td class="number"><a href="#page013">13</a></td>
+</tr>
+<tr>
+<td><p>Pueblo revolt of 1680</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td><p>Pueblos of Tusayan and Cibola compared</p></td>
+<td class="number"><a href="#page080">80</a></td>
+</tr>
+<tr>
+<td><p>Pueblos, inhabited</p></td>
+<td class="number"><a href="#page061">61</a>-<a
+href="#page079">79</a>, <a href="#page094">94</a>-<a href="#page099">99</a></td>
+</tr>
+<tr>
+<td><p>Pyramidal form of pueblo house rows</p></td>
+<td class="number"><a href="#page061">61</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_R" id="index_R">R.</a></td>
+</tr>
+<tr>
+<td><p>Rabbit-skin robes used to cover doorways</p></td>
+<td class="number"><a href="#page182">182</a>, <a
+href="#page194">194</a></td>
+</tr>
+<tr>
+<td><p>Racks for suspending clothes</p></td>
+<td class="number"><a href="#page208">208</a>, <a
+href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Rawhide thong used in pueblo construction to fasten lock</p></td>
+<td class="number"><a href="#page186">186</a>, <a
+href="#page187">187</a>, <a href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Rectangular kivas, antiquity of</p></td>
+<td class="number"><a href="#page116">116</a></td>
+</tr>
+<tr>
+<td><p>Rectangular rooms, how developed</p></td>
+<td class="number"><a href="#page226">226</a></td>
+</tr>
+<tr>
+<td><p>Rectangular type of architecture</p></td>
+<td class="number"><a href="#page072">72</a></td>
+</tr>
+<tr>
+<td><p>Reeds, sacred, for Navajo ceremonial, preparation of</p></td>
+<td class="number"><a href="#page242">242</a>, <a
+href="#page243">243</a></td>
+</tr>
+<tr>
+<td><p>Reeds used for kiva lathing</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>Repair of houses infrequent in Tusayan</p></td>
+<td class="number"><a href="#page073">73</a></td>
+</tr>
+<tr>
+<td><p>Reservoirs, pueblo</p></td>
+<td class="number"><a href="#page082">82</a>-<a
+href="#page083">83</a>, <a href="#page091">91</a>, <a href="#page092">92</a>, <a href="#page097">97</a></td>
+</tr>
+<tr>
+<td><p>Reservoir site as affecting selection of dwelling site</p></td>
+<td class="number"><a href="#page051">51</a>-<a
+href="#page052">52</a></td>
+</tr>
+<tr>
+<td><p>Revolt of the Pueblos in 1680</p></td>
+<td class="number"><a href="#page023">23</a></td>
+</tr>
+<tr>
+<td><p>Reynolds, H. L., work of</p></td>
+<td class="number roman"><a href="#pageXXIV">XXIV</a></td>
+</tr>
+<tr>
+<td><p>Rites and methods of Tusayan kiva building</p></td>
+<td class="number"><a href="#page118">118</a>-<a
+href="#page137">137</a></td>
+</tr>
+<tr>
+<td><p>Rites of house-building at Tusayan</p></td>
+<td class="number"><a href="#page100">100</a>-<a
+href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>Rito de los Frijoles, chimney of, described</p></td>
+<td class="number"><a href="#page173">173</a></td>
+</tr>
+<tr>
+<td><p>Roof construction, pueblo buildings</p></td>
+<td class="number"><a href="#page120">120</a>, <a
+href="#page149">149</a></td>
+</tr>
+<tr>
+<td><p>Roof-coping of Tusayan houses</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td>
+<a name="page295" id="page295"> </a>
+<p>Roof-drains, pueblo buildings</p></td>
+<td class="number"><a href="#page102">102</a>, <a
+href="#page153">153</a>-<a href="#page156">156</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Roof-openings, pueblo buildings</p></td>
+<td class="number"><a href="#page061">61</a>, <a
+href="#page063">63</a>, <a href="#page077">77</a>, <a href="#page098">98</a>, <a href="#page169">169</a>, <a href="#page178">178</a>, <a href="#page201">201</a>-<a href="#page208">208</a></td>
+</tr>
+<tr>
+<td><p>Roofs, pueblo buildings</p></td>
+<td class="number"><a href="#page063">63</a>, <a
+href="#page102">102</a>, <a href="#page119">119</a>, <a href="#page148">148</a>-<a href="#page151">151</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Roof timbers of kivas</p></td>
+<td class="number"><a href="#page119">119</a></td>
+</tr>
+<tr>
+<td><p>Rogan, J. P., work of</p></td>
+<td class="number roman"><a href="#pageXIX">XIX</a></td>
+</tr>
+<tr>
+<td><p>Rooms, arrangement of, into rows in Tusayan</p></td>
+<td class="number"><a href="#page049">49</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>confused arrangement of, in Walpi</p></td>
+<td class="number"><a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tâaaiyalana ruins, arrangement of</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>circular, at Kin-tiel</p></td>
+<td class="number"><a href="#page093">93</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan, smaller than in Zuñi</p></td>
+<td class="number"><a href="#page108">108</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>names of, in Tusayan</p></td>
+<td class="number"><a href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>Rows of houses forming Shumopavi</p></td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td><p>Royce, Chas. O., work of</p></td>
+<td class="number roman"><a href="#pageXXV">XXV</a></td>
+</tr>
+<tr>
+<td><p>Ruins, method of survey of</p></td>
+<td class="number"><a href="#page045">45</a></td>
+</tr>
+<tr>
+<td><p>Ruins, Tusayan</p></td>
+<td class="number"><a href="#page045">45</a>-<a
+href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>between Horn House and Bat House</p></td>
+<td class="number"><a href="#page051">51</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Oraibi wash</p></td>
+<td class="number"><a href="#page054">54</a>-<a
+href="#page056">56</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Cibola</p></td>
+<td class="number"><a href="#page080">80</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tâaaiyalana</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td><p>Rungs of ladders, how attached</p></td>
+<td class="number"><a href="#page158">158</a>, <a
+href="#page159">159</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_S" id="index_S">S.</a></td>
+</tr>
+<tr>
+<td><p>Sacrifices of food in Tusayan house-building</p></td>
+<td class="number"><a href="#page101">101</a>, <a
+href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>Sandals of yucca found in Canyon de Chelly</p></td>
+<td class="number"><a href="#page133">133</a></td>
+</tr>
+<tr>
+<td><p>Sand bed used in Navajo ceremonial to absorb disease</p></td>
+<td class="number"><a href="#page250">250</a>, <a
+href="#page251">251</a></td>
+</tr>
+<tr>
+<td><p>Sand painting, Navajo ceremonial, learned by the Navajos from the
+Pueblos</p></td>
+<td class="number"><a href="#page236">236</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>colors used in</p></td>
+<td class="number"><a href="#page237">237</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>manner of laying on colors</p></td>
+<td class="number"><a href="#page239">239</a>-<a
+href="#page248">248</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td class="inset">
+<p>disposition of sand after ceremony</p></td>
+<td class="number"><a href="#page241">241</a>, <a
+href="#page261">261</a>, <a href="#page264">264</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page260">260</a>, <a
+href="#page261">261</a>, <a href="#page262">262</a>, <a href="#page264">264</a>, <a href="#page265">265</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Sandstone used in pueblo construction, how quarried</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>San Felipe, return of Payupki to</p></td>
+<td class="number"><a href="#page041">41</a></td>
+</tr>
+<tr>
+<td><p>San Juan, a Tewa pueblo</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Santa Clara doubtfully identified with Kápung</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td><p>Santo Domingo, settlement of the Asanyumu</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Sash of rude construction in window openings</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Sealing of doorways of pueblo buildings</p></td>
+<td class="number"><a href="#page110">110</a>, <a
+href="#page183">183</a>-<a href="#page184">184</a>, <a href="#page198">198</a>-<a href="#page201">201</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Seats of stone in Tusayan kivas</p></td>
+<td class="number"><a href="#page132">132</a></td>
+</tr>
+<tr>
+<td><p>Selenite used in pueblo windows</p></td>
+<td class="number"><a href="#page196">196</a>, <a
+href="#page197">197</a></td>
+</tr>
+<tr>
+<td><p>Semisubterranean kivas of Tusayan</p></td>
+<td class="number"><a href="#page113">113</a></td>
+</tr>
+<tr>
+<td>Seven cities of Cibola. See Cibola.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Sheep, introduced into Tusayan</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>possessed by the Awatubi</p></td>
+<td class="number"><a href="#page050">50</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>introduction of, among the Pueblos</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>mountain, Navajo myth concerning</p></td>
+<td class="number"><a href="#page282">282</a>-<a
+href="#page284">284</a></td>
+</tr>
+<tr>
+<td><p>Shitáimu pueblo</p></td>
+<td class="number"><a href="#page028">28</a>, <a
+href="#page048">48</a>, <a href="#page049">49</a></td>
+</tr>
+<tr>
+<td><p>Shelters in pueblo fields</p></td>
+<td class="number"><a href="#page060">60</a>, <a
+href="#page198">198</a>, <a href="#page217">217</a>-<a href="#page219">219</a></td>
+</tr>
+<tr>
+<td><p>Shelves, pueblo buildings</p></td>
+<td class="number"><a href="#page109">109</a>, <a
+href="#page173">173</a>, <a href="#page209">209</a></td>
+</tr>
+<tr>
+<td><p>Shrine, Matsaki</p></td>
+<td class="number"><a href="#page086">86</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>court of Shupaulovi</p></td>
+<td class="number"><a href="#page071">71</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>court of Shumopavi</p></td>
+<td class="number"><a href="#page075">75</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tâaaiyalana</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td><p>Shrines, pueblo</p></td>
+<td class="number"><a href="#page072">72</a>, <a
+href="#page148">148</a>, <a href="#page167">167</a></td>
+</tr>
+<tr>
+<td><p>Shumopavi, Spanish mission established at</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>by whom built</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>removal of portion of Bear people from</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page073">73</a>-<a
+href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kivas of</p></td>
+<td class="number"><a href="#page113">113</a>, <a
+href="#page114">114</a>, <a href="#page137">137</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>primitive andiron at</p></td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>piki stone at</p></td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fireplace and chimney of</p></td>
+<td class="number"><a href="#page176">176</a>, <a
+href="#page177">177</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ground cooking-pit of</p></td>
+<td class="number"><a href="#page178">178</a></td>
+</tr>
+<tr>
+<td><p>Shumopavi-Oraibi boundary stone</p></td>
+<td class="number"><a href="#page028">28</a></td>
+</tr>
+<tr>
+<td><p>Shumopavi people, removal of, to mesa site</p></td>
+<td class="number"><a href="#page023">23</a></td>
+</tr>
+<tr>
+<td><p>Shupaulovi, settlement of Paroquet and Ketchina peoples
+in</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>when established</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>settlement of Bear people at</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>settlement of the water people at</p></td>
+<td class="number"><a href="#page032">32</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page071">71</a>-<a
+href="#page073">73</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>mungkiva of, described</p></td>
+<td class="number"><a href="#page113">113</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>direction of kivas of</p></td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of dais of kiva of</p></td>
+<td class="number"><a href="#page123">123</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ground and ceiling plans of kiva of</p></td>
+<td class="number"><a href="#page125">125</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>list of kivas of</p></td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of chimney-hood at</p></td>
+<td class="number"><a href="#page171">171</a>, <a
+href="#page172">172</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>passageway at, described</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>Sichumovi, settled by peoples from Walpi</p></td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>derivation of term</p></td>
+<td class="number"><a href="#page038">38</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page062">62</a>, <a
+href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>direction of kivas of</p></td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ownership of kiva of</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>list of kivas of</p></td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>poultry-house of</p></td>
+<td class="number"><a href="#page167">167</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fireplace and mantel of</p></td>
+<td class="number"><a href="#page173">173</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>piki stone at</p></td>
+<td class="number"><a href="#page175">175</a></td>
+</tr>
+<tr>
+<td><p>Sikyatki, ruin of</p></td>
+<td class="number"><a href="#page020">20</a>, <a
+href="#page021">21</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>pueblo of</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ancient kiva near</p></td>
+<td class="number"><a href="#page117">117</a></td>
+</tr>
+<tr>
+<td><p>Sikyátki people dispute with the Walpi</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>slaughtered by the Walpi</p></td>
+<td class="number"><a href="#page025">25</a></td>
+</tr>
+<tr>
+<td><p>Sills of doors</p></td>
+<td class="number"><a href="#page110">110</a>, <a
+href="#page186">186</a>, <a href="#page194">194</a></td>
+</tr>
+<tr>
+<td><p>Sióki. See Zuñi</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Sipapuh, Tusayan kivas</p></td>
+<td class="number"><a href="#page117">117</a>, <a
+href="#page121">121</a>, <a href="#page122">122</a>, <a href="#page123">123</a>, <a href="#page126">126</a>, <a href="#page130">130</a>, <a href="#page131">131</a>, <a href="#page135">135</a></td>
+</tr>
+<tr>
+<td><p>Sites of pueblo buildings, why selected</p></td>
+<td class="number"><a href="#page063">63</a>, <a
+href="#page066">66</a>, <a href="#page090">90</a>, <a href="#page097">97</a>, <a href="#page112">112</a>, <a href="#page223">223</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Slabs of stone in pueblo architecture</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>Slavery among the Tusayan</p></td>
+<td class="number"><a href="#page041">41</a></td>
+</tr>
+<tr>
+<td><p>Smallpox prevalent in Tusayan</p></td>
+<td class="number"><a href="#page038">38</a>, <a
+href="#page134">134</a></td>
+</tr>
+<tr>
+<td><p>Smoke escape through roof-opening and transoms</p></td>
+<td class="number"><a href="#page189">189</a>, <a
+href="#page204">204</a>, <a href="#page206">206</a>, <a href="#page207">207</a></td>
+</tr>
+<tr>
+<td><p>Snake dance, relation of dance-rock to</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>Snake people, the first occupants of the Tusayan region</p></td>
+<td class="number"><a href="#page017">17</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>construction of modern Walpi by the</p></td>
+<td class="number"><a href="#page023">23</a></td>
+</tr>
+<tr>
+<td><p>Snow, use of, as water supply by the Zuñi</p></td>
+<td class="number"><a href="#page091">91</a></td>
+</tr>
+<tr>
+<td><p>Spaniards, early visit of, to Tusayan</p></td>
+<td class="number"><a href="#page021">21</a>, <a
+href="#page022">22</a></td>
+</tr>
+<tr>
+<td><p>Spanish authority, effect of, upon purity of Zuñi kiva
+type</p></td>
+<td class="number"><a href="#page112">112</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Spanish beams in Tusayan kivas</p></td>
+<td class="number"><a href="#page119">119</a>, <a
+href="#page123">123</a>, <a href="#page124">124</a>, <a href="#page125">125</a>, <a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>Spanish churches at pueblos, Hawikuk</p></td>
+<td class="number"><a href="#page081">81</a>, <a
+href="#page082">82</a>, <a href="#page138">138</a></td>
+</tr>
+<tr>
+<td><p>Spanish influence in Zuñi and Tusayan</p></td>
+<td class="number"><a href="#page169">169</a>, <a
+href="#page180">180</a>, <a href="#page196">196</a>, <a href="#page213">213</a>, <a href="#page224">224</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td>
+<a name="page296" id="page296"> </a>
+<p>Spanish missions established in Tusayan</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td><p>Spider people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>Spider woman, the, Navajo myth</p></td>
+<td class="number"><a href="#page284">284</a></td>
+</tr>
+<tr>
+<td><p>Splash-stones described and figured</p></td>
+<td class="number"><a href="#page155">155</a>, <a
+href="#page156">156</a></td>
+</tr>
+<tr>
+<td><p>Splayed openings in Ketchipauan church</p></td>
+<td class="number"><a href="#page082">82</a></td>
+</tr>
+<tr>
+<td><p>Squash people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page025">25</a></td>
+</tr>
+<tr>
+<td><p>Stakes used in construction of stone walls</p></td>
+<td class="number"><a href="#page147">147</a></td>
+</tr>
+<tr>
+<td><p>Stearns, J. B., relics from Chiriqui presented by</p></td>
+<td class="number roman"><a href="#pageXXVI">XXVI</a></td>
+</tr>
+<tr>
+<td><p>Stephen, A. M., material on traditional history of Tusayan
+collected by</p></td>
+<td class="number"><a href="#page016">16</a>-<a
+href="#page041">41</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>opinion on Walpi architectural features</p></td>
+<td class="number"><a href="#page072">72</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>acknowledgments to</p></td>
+<td class="number"><a href="#page100">100</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on distribution of Oraibi gentes</p></td>
+<td class="number"><a href="#page104">104</a>, <a
+href="#page105">105</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on orientation of Tusayan kivas</p></td>
+<td class="number"><a href="#page115">115</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>discovery of ancient kiva type near Sikyatki</p></td>
+<td class="number"><a href="#page117">117</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>typical kiva measurements by</p></td>
+<td class="number"><a href="#page122">122</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on wattling or lathing of kiva walls</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on significance of structural plan of kiva</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>collection of primitive andirons or bosses by</p></td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td><p>Steps and ladders described</p></td>
+<td class="number"><a href="#page156">156</a>-<a
+href="#page162">162</a></td>
+</tr>
+<tr>
+<td><p>Steps cut in faces of cliffs</p></td>
+<td class="number"><a href="#page191">191</a></td>
+</tr>
+<tr>
+<td><p>Steps or foot-holes of Walpi trail</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>Steps to kivas</p></td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td><p>Stevenson, James, notice of paper on Hasjelti Dailjis and Navajo
+<ins class="correction" title="text reads ‘sands’">sand</ins>
+painting by</p></td><td class="number roman"><a href="#pageXXXIV">XXXIV</a>-<a href="#pageXXXVI">XXXVI</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>paper on ceremonial of Hasjelti Dailjis and mythical sand-painting
+of</p></td>
+<td class="number"><a href="#page229">229</a>-<a
+href="#page285">285</a></td>
+</tr>
+<tr>
+<td><p>Sticks, painted, bundles of, used in Navajo medicine
+ceremonial</p></td>
+<td class="number"><a href="#page252">252</a>, <a
+href="#page254">254</a></td>
+</tr>
+<tr>
+<td><p>Stone, size, character, and finish of, in pueblo ruins</p></td>
+<td class="number"><a href="#page055">55</a>, <a
+href="#page058">58</a>, <a href="#page060">60</a>, <a href="#page138">138</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>means of obtaining, in Zuñi</p></td>
+<td class="number"><a href="#page139">139</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>effect of use of, in chimney hoods</p></td>
+<td class="number"><a href="#page172">172</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>corrals</p></td>
+<td class="number"><a href="#page214">214</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>flags used to floor Tusayan kiva</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>inclosures in Southern Arizona</p></td>
+<td class="number"><a href="#page216">216</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>roof drains, curious forms of</p></td>
+<td class="number"><a href="#page154">154</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>shelters, possible remains of, at Payupki</p></td>
+<td class="number"><a href="#page060">60</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>slabs formerly used to close doorways</p></td>
+<td class="number"><a href="#page188">188</a></td>
+</tr>
+<tr>
+<td><p>Stone-close anciently used</p></td>
+<td class="number"><a href="#page192">192</a>, <a
+href="#page193">193</a></td>
+</tr>
+<tr>
+<td><p>Stone wedges used in pueblo wall finish</p></td>
+<td class="number"><a href="#page140">140</a>, <a
+href="#page142">142</a></td>
+</tr>
+<tr>
+<td><p>Stonework, Shumopavi</p></td>
+<td class="number"><a href="#page075">75</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>at <ins class="correction" title="text reads ‘Oraib’">Oraibi</ins></p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Mormon and Pueblos compared</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>Stone steps, Pescado</p></td>
+<td class="number"><a href="#page095">95</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan</p></td>
+<td class="number"><a href="#page157">157</a></td>
+</tr>
+<tr>
+<td><p>Stools used by the Pueblos</p></td>
+<td class="number"><a href="#page212">212</a>, <a
+href="#page213">213</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Storage facilities of pueblo dwellings</p></td>
+<td class="number"><a href="#page057">57</a>, <a
+href="#page062">62</a>, <a href="#page103">103</a>, <a href="#page109">109</a>, <a href="#page143">143</a>, <a href="#page144">144</a>, <a href="#page182">182</a>, <a href="#page209">209</a></td>
+</tr>
+</table>
+<table class="index" summary="index continues">
+<tr>
+<td><p>Straw adobe made by Spaniards</p></td>
+<td class="number"><a href="#page138">138</a>, <a
+href="#page224">224</a></td>
+</tr>
+<tr>
+<td><p>Structural features of kivas similar</p></td>
+<td class="number"><a href="#page129">129</a></td>
+</tr>
+<tr>
+<td><p>Subterranean character of kivas</p></td>
+<td class="number"><a href="#page063">63</a>, <a
+href="#page072">72</a>, <a href="#page112">112</a>, <a href="#page113">113</a></td>
+</tr>
+<tr>
+<td><p>Suds of yucca used in Navajo medicine ceremonial</p></td>
+<td class="number"><a href="#page251">251</a>, <a
+href="#page257">257</a>, <a href="#page258">258</a></td>
+</tr>
+<tr>
+<td><p>Sullivan, Jeremiah, Payupki tradition obtained by</p></td>
+<td class="number"><a href="#page040">40</a></td>
+</tr>
+<tr>
+<td><p>Sun, Navajo myth concerning creation of</p></td>
+<td class="number"><a href="#page275">275</a>, <a
+href="#page277">277</a></td>
+</tr>
+<tr>
+<td><p>Sunflower stalks used in chimney construction</p></td>
+<td class="number"><a href="#page170">170</a></td>
+</tr>
+<tr>
+<td><p>Sun people of Tusayan</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td><p>Supplies, how taken to Walpi mesa</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>Survey of Tusayan and Cibola, methods of</p></td>
+<td class="number"><a href="#page044">44</a>-<a
+href="#page045">45</a></td>
+</tr>
+<tr>
+<td><p>Sweat-houses in Navajo ceremonial, description of</p></td>
+<td class="number"><a href="#page239">239</a></td>
+</tr>
+<tr>
+<td><p>Synonymy of Indian tribes, work on</p></td>
+<td class="number roman"><a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_T" id="index_T">T.</a></td>
+</tr>
+<tr>
+<td><p><ins class="correction"
+title="text reads ‘Tâaaialana’">Tâaaiyalana</ins>,
+relation of K’iakima to</p></td>
+<td class="number"><a href="#page085">85</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>stone inclosures at base of</p></td>
+<td class="number"><a href="#page085">85</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of ruins of</p></td>
+<td class="number"><a href="#page089">89</a>-<a
+href="#page091">91</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>flight of Zuñis to, during Pueblo revolt</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>mesa of, temporarily occupied</p></td>
+<td class="number"><a href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>Tables not used in Pueblo houses</p></td>
+<td class="number"><a href="#page212">212</a>, <a
+href="#page214">214</a></td>
+</tr>
+<tr>
+<td><p>Talla Hogan. See Awatubi</p></td>
+<td class="number"><a href="#page049">49</a>-<a
+href="#page050">50</a></td>
+</tr>
+<tr>
+<td><p>Taos formerly partly inhabited by the Tewa</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Tceewáge. See Peña Blanca.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Tcosobi or Jay kiva, roof timbers of</p></td>
+<td class="number"><a href="#page120">120</a></td>
+</tr>
+<tr>
+<td><p>Tebowúki, an early pueblo of the fire people of Tusayan</p></td>
+<td class="number"><a href="#page020">20</a></td>
+</tr>
+<tr>
+<td><p>Tebugkihu or fire-house, description of</p></td>
+<td class="number"><a href="#page057">57</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>fragments of passage-wall at</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>Tennessee, archeologic work in</p></td>
+<td class="number roman"><a href="#pageXIX">XIX</a></td>
+</tr>
+<tr>
+<td><p>Terraced doorways</p></td>
+<td class="number"><a href="#page190">190</a>-<a
+href="#page191">191</a></td>
+</tr>
+<tr>
+<td><p>Terraced gardens</p></td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>Terraced roofs of Tusayan, names of</p></td>
+<td class="number"><a href="#page104">104</a></td>
+</tr>
+<tr>
+<td><p>Terrace cooking-pits and fireplaces</p></td>
+<td class="number"><a href="#page174">174</a>-<a
+href="#page177">177</a></td>
+</tr>
+<tr>
+<td><p>Terrace rooms, half open, not seen in ancient pueblos</p></td>
+<td class="number"><a href="#page187">187</a></td>
+</tr>
+<tr>
+<td><p>Terraces, Sichumovi form of</p></td>
+<td class="number"><a href="#page062">62</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Oraibi, formed by natural causes</p></td>
+<td class="number"><a href="#page076">76</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi</p></td>
+<td class="number"><a href="#page097">97</a>, <a
+href="#page098">98</a>, <a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ancient pueblos, how reached</p></td>
+<td class="number"><a href="#page156">156</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tusayan names of</p></td>
+<td class="number"><a href="#page223">223</a></td>
+</tr>
+<tr>
+<td><p>Tesuque, a Tewa pueblo</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Tetsógi. See Tesuque.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Tewa conflict with the Ute</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td><p>Tewa, language of the</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td>Tewa. See Hano.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Texas, linguistic work in</p></td>
+<td class="number roman"><a href="#pageXX">XX</a></td>
+</tr>
+<tr>
+<td><p>Thomas, Cyrus, work of</p></td><td class="number roman"><a href="#pageXIX">XIX</a>, <a href="#pageXXIII">XXIII</a></td>
+</tr>
+<tr>
+<td><p>Timbers for roof, kind used in kiva-building</p></td>
+<td class="number"><a href="#page019">19</a></td>
+</tr>
+<tr>
+<td><p>Time for planting and harvesting, how determined in Zuñi</p></td>
+<td class="number"><a href="#page148">148</a></td>
+</tr>
+<tr>
+<td><p>Tiponi of Tusayan explained</p></td>
+<td class="number"><a href="#page131">131</a></td>
+</tr>
+<tr>
+<td><p>Tlaskaltec Indians, linguistic researches among</p></td>
+<td class="number roman"><a href="#pageXXI">XXI</a></td>
+</tr>
+<tr>
+<td><p>Toneennili, the water-sprinkler, song addressed to, in Navajo
+ceremonial</p></td>
+<td class="number"><a href="#page259">259</a></td>
+</tr>
+<tr>
+<td><p>Topography, houses of Walpi constructed to conform to</p></td>
+<td class="number"><a href="#page064">64</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>of Shupaulovi</p></td>
+<td class="number"><a href="#page071">71</a></td>
+</tr>
+<tr>
+<td><p>Tradition, historical value of</p></td>
+<td class="number"><a href="#page015">15</a></td>
+</tr>
+<tr>
+<td>
+<a name="page297" id="page297"> </a>
+<p>Tradition, Tusayan</p></td>
+<td class="number"><a href="#page016">16</a>-<a
+href="#page041">41</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Hano</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>regarding Hano and Tusayan languages</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>concerning Payupki pueblo</p></td>
+<td class="number"><a href="#page040">40</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>concerning occupancy of Old Mashongnavi</p></td>
+<td class="number"><a href="#page047">47</a>-<a
+href="#page048">48</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>of foundation of Walpi</p></td>
+<td class="number"><a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>concerning circular kivas</p></td>
+<td class="number"><a href="#page135">135</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi concerning stone-close</p></td>
+<td class="number"><a href="#page092">92</a>-<a
+href="#page193">193</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>concerning early occupancy of former pueblos by existing
+tribes</p></td>
+<td class="number"><a href="#page225">225</a></td>
+</tr>
+<tr>
+<td><p>Traditionary gentes of Tusayan, list of</p></td>
+<td class="number"><a href="#page038">38</a></td>
+</tr>
+<tr>
+<td><p>Trails, Walpi</p></td>
+<td class="number"><a href="#page065">65</a>, <a
+href="#page066">66</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tâaaiyalana</p></td>
+<td class="number"><a href="#page089">89</a></td>
+</tr>
+<tr>
+<td><p>Transoms over pueblo doorways</p></td>
+<td class="number"><a href="#page187">187</a>-<a
+href="#page189">189</a></td>
+</tr>
+<tr>
+<td><p>Transportation to Walpi mesa, Indian method</p></td>
+<td class="number"><a href="#page066">66</a></td>
+</tr>
+<tr>
+<td><p>Trapdoors, Sichumovi</p></td>
+<td class="number"><a href="#page063">63</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kivas, no means of fastening</p></td>
+<td class="number"><a href="#page113">113</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>frames furnished with hand-holds</p></td>
+<td class="number"><a href="#page192">192</a></td>
+</tr>
+<tr>
+<td><p>Tunika Indians, linguistic work among</p></td>
+<td class="number roman"><a href="#pageXXI">XXI</a></td>
+</tr>
+<tr>
+<td><p>Tupubi defined</p></td>
+<td class="number"><a href="#page176">176</a></td>
+</tr>
+<tr>
+<td>Túpkabi. See Canyon de Chelly.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Turner, Lucien M., work of</p></td>
+<td class="number roman"><a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>Tusayan, survey of</p></td>
+<td class="number"><a href="#page015">15</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>traditional history of</p></td>
+<td class="number"><a href="#page016">16</a>-<a
+href="#page041">41</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>ruins and inhabited villages of</p></td>
+<td class="number"><a href="#page042">42</a>-<a
+href="#page079">79</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>house-building rites</p></td>
+<td class="number"><a href="#page100">100</a>-<a
+href="#page104">104</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>houses of, owned by women</p></td>
+<td class="number"><a href="#page101">101</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kivas in</p></td>
+<td class="number"><a href="#page111">111</a>-<a
+href="#page137">137</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>list of kivas of</p></td>
+<td class="number"><a href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p><ins class="correction" title="alphabetized separately after ‘Terraces’">order of settlement of</ins>,
+by various peoples</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td><p>Tusayan and Cibola architecture, study of, by Victor
+Mindeleff</p></td>
+<td class="number"><a href="#page003">3</a>-<a href="#page228">228</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>compared by constructional details</p></td>
+<td class="number"><a href="#page100">100</a>-<a
+href="#page223">223</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>details of</p></td>
+<td class="number"><a href="#page137">137</a>-<a
+href="#page223">223</a></td>
+</tr>
+<tr>
+<td>Tusayan. See Hopituh.</td>
+<td></td>
+</tr>
+<tr>
+<td><p>Tuscarora-English dictionary, work on</p></td>
+<td class="number roman"><a href="#pageXXVIII">XXVIII</a></td>
+</tr>
+<tr>
+<td><p>Tuwahlki, or watch-house</p></td>
+<td class="number"><a href="#page217">217</a></td>
+</tr>
+<tr>
+<td><p>Tuwii. See Santo Domingo</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td><p>Twigs, use of, in roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_U" id="index_U">U.</a></td>
+</tr>
+<tr>
+<td><p>Ute, conflict with, by the Tewa of Hano</p></td>
+<td class="number"><a href="#page036">36</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>inroads of, upon Tusayan</p></td>
+<td class="number"><a href="#page025">25</a>, <a
+href="#page026">26</a>, <a href="#page035">35</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_V" id="index_V">V.</a></td>
+</tr>
+<tr>
+<td><p>Vargas, Don Diego, visit to Tusayan of</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td><p>Virginia, work in</p></td>
+<td class="number roman"><a href="#pageXXII">XXII</a></td>
+</tr>
+<tr>
+<td><p>Vocabulary of Tusayan architectural terms</p></td>
+<td class="number"><a href="#page220">220</a>-<a
+href="#page223">223</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_W" id="index_W">W.</a></td>
+</tr>
+<tr>
+<td><p>Walls, how indicated on plans of ruins</p></td>
+<td class="number"><a href="#page045">45</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>defensive, at Bat House</p></td>
+<td class="number"><a href="#page052">52</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>construction of, in Moen-kopi ruins</p></td>
+<td class="number"><a href="#page053">53</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>curved, instances of</p></td>
+<td class="number"><a href="#page054">54</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>showing precision of workmanship</p></td>
+<td class="number"><a href="#page054">54</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>dimensions in Tâaaiyalana mesa</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>original height of, indicated by débris</p></td>
+<td class="number"><a href="#page090">90</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>thickness of, in modern Tusayan</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>paintings on, in Tusayan kiva</p></td>
+<td class="number"><a href="#page131">131</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>pueblo, mode of construction of</p></td>
+<td class="number"><a href="#page137">137</a>-<a
+href="#page148">148</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>copings of</p></td>
+<td class="number"><a href="#page139">139</a>, <a
+href="#page151">151</a>, <a href="#page152">152</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>strength of</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>weakness of, in Zuñi</p></td>
+<td class="number"><a href="#page182">182</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>of gardens</p></td>
+<td class="number"><a href="#page215">215</a></td>
+</tr>
+<tr>
+<td><p>Walpi, settlement of Bear people at</p></td>
+<td class="number"><a href="#page021">21</a>, <a
+href="#page027">27</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Spanish mission established at</p></td>
+<td class="number"><a href="#page022">22</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>construction of, by the Snake people</p></td>
+<td class="number"><a href="#page023">23</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>dispute of, with the Sikyatki</p></td>
+<td class="number"><a href="#page024">24</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>settlement of the Asa at</p></td>
+<td class="number"><a href="#page030">30</a>, <a
+href="#page031">31</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>abandoned by Bear, Lizard, Asa, and Badger peoples</p></td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of</p></td>
+<td class="number"><a href="#page063">63</a>-<a
+href="#page066">66</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>court-surrounded kiva of</p></td>
+<td class="number"><a href="#page114">114</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>kivas of</p></td>
+<td class="number"><a href="#page119">119</a>, <a
+href="#page136">136</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>upper story partitions of, supported by beams</p></td>
+<td class="number"><a href="#page144">144</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>use of large stone blocks in garden walls of</p></td>
+<td class="number"><a href="#page047">47</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>cooking pit at</p></td>
+<td class="number"><a href="#page176">176</a>, <a
+href="#page177">177</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>south passageway of, described</p></td>
+<td class="number"><a href="#page181">181</a></td>
+</tr>
+<tr>
+<td><p>Walpi people, attack of Awatubi by the</p></td>
+<td class="number"><a href="#page034">34</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>affray between the Oraibi and</p></td>
+<td class="number"><a href="#page035">35</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>trouble between the Hano and</p></td>
+<td class="number"><a href="#page037">37</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>various pueblos formerly occupied by the</p></td>
+<td class="number"><a href="#page046">46</a>, <a
+href="#page047">47</a></td>
+</tr>
+<tr>
+<td><p>Warp-sticks, mode of supporting</p></td>
+<td class="number"><a href="#page133">133</a></td>
+</tr>
+<tr>
+<td><p>Water, method of carrying, at Walpi</p></td>
+<td class="number"><a href="#page065">65</a></td>
+</tr>
+<tr>
+<td><p>Water family, last to settle at Tusayan</p></td>
+<td class="number"><a href="#page029">29</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>migration legend of</p></td>
+<td class="number"><a href="#page031">31</a></td>
+</tr>
+<tr>
+<td><p>Water jars used in chimney construction</p></td>
+<td class="number"><a href="#page180">180</a></td>
+</tr>
+<tr>
+<td><p>Water supply, Cibola</p></td>
+<td class="number"><a href="#page080">80</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Ketchipauan</p></td>
+<td class="number"><a href="#page082">82</a>, <a
+href="#page083">83</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Tâaaiyalana dwellings</p></td>
+<td class="number"><a href="#page090">90</a>, <a
+href="#page091">91</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Kin-tiel</p></td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>Zuñi</p></td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td><p>Water vessels, forms of</p></td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td><p>Wattling or lathing of kiva walls</p></td>
+<td class="number"><a href="#page126">126</a></td>
+</tr>
+<tr>
+<td><p>Weaving appliances</p></td>
+<td class="number"><a href="#page212">212</a></td>
+</tr>
+<tr>
+<td><p>Wejegi pueblo, loop-holes in</p></td>
+<td class="number"><a href="#page198">198</a></td>
+</tr>
+<tr>
+<td><p>Well or reservoir of Zuñi</p></td>
+<td class="number"><a href="#page097">97</a></td>
+</tr>
+<tr>
+<td><p>West Virginia, archeologic work in</p></td>
+<td class="number roman"><a href="#pageXX">XX</a></td>
+</tr>
+<tr>
+<td><p>Whitewash on outer walls of Shumopavi</p></td>
+<td class="number"><a href="#page073">73</a>-<a
+href="#page074">74</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on Mashongnavi room</p></td>
+<td class="number"><a href="#page109">109</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>how made and applied in Zuñi</p></td>
+<td class="number"><a href="#page145">145</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>on house walls</p></td>
+<td class="number"><a href="#page145">145</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>used for coating doors</p></td>
+<td class="number"><a href="#page186">186</a></td>
+</tr>
+<tr>
+<td><p>Wíksrun people, settlement in Tusayan of the</p></td>
+<td class="number"><a href="#page027">27</a></td>
+</tr>
+<tr>
+<td><p>Willow wands used in roof construction</p></td>
+<td class="number"><a href="#page150">150</a></td>
+</tr>
+<tr>
+<td><p>Window, doorway and chimney in one</p></td>
+<td class="number"><a href="#page121">121</a></td>
+</tr>
+<tr>
+<td><p>Windows of various kinds described</p></td>
+<td class="number"><a href="#page194">194</a>, <a
+href="#page201">201</a></td>
+</tr>
+<tr>
+<td><p>Wings constructed in court of Pueblo Bonito</p></td>
+<td class="number"><a href="#page070">70</a></td>
+</tr>
+<tr>
+<td><p>Women, house owners at Tusayan</p></td>
+<td class="number"><a href="#page101">101</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>work of, in Tusayan house-building</p></td>
+<td class="number"><a href="#page101">101</a>, <a
+href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>roof-building performed by</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>work of, in kiva-building</p></td>
+<td class="number"><a href="#page129">129</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>when admitted to kivas</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>societies of, and kivas for, in Tusayan</p></td>
+<td class="number"><a href="#page134">134</a></td>
+</tr>
+<tr>
+<td><p>Wood, kinds of, used in Tusayan construction</p></td>
+<td class="number"><a href="#page102">102</a></td>
+</tr>
+<tr>
+<td><p>Wood rack of pueblos described</p></td>
+<td class="number"><a href="#page103">103</a></td>
+</tr>
+<tr>
+<td><p>Wood-working, how performed</p></td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td><p>Wooden doors not found in pre-Columbian ruins</p></td>
+<td class="number"><a href="#page184">184</a></td>
+</tr>
+<tr>
+<td>
+<a name="page298" id="page298"> </a>
+<p>Wooden features of pueblo windows</p></td>
+<td class="number"><a href="#page196">196</a></td>
+</tr>
+<tr>
+<td><p>Woolen mill established by Mormons at Moen-kopi</p></td>
+<td class="number"><a href="#page078">78</a></td>
+</tr>
+<tr>
+<td><p>Workshop, use of the kiva, as a</p></td>
+<td class="number"><a href="#page129">129</a>, <a
+href="#page133">133</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_Y" id="index_Y">Y.</a></td>
+</tr>
+<tr>
+<td><p>Yebitchai, meaning of the term</p></td>
+<td class="number"><a href="#page235">235</a>, <a
+href="#page236">236</a></td>
+</tr>
+<tr>
+<td><p>Yeso used for interior whitewash</p></td>
+<td class="number"><a href="#page074">74</a></td>
+</tr>
+<tr>
+<td><p>Yucca, use of, in lathing</p></td>
+<td class="number"><a href="#page127">127</a></td>
+</tr>
+<tr>
+<td><p>Yucca fiber sandals from Canyon de Chelly</p></td>
+<td class="number"><a href="#page133">133</a></td>
+</tr>
+
+<tr>
+<td class="letterhead" colspan="2">
+<a name="index_Z" id="index_Z">Z.</a></td>
+</tr>
+<tr>
+<td><p>Zenichi, Navajo gods</p></td>
+<td class="number"><a href="#page265">265</a></td>
+</tr>
+<tr>
+<td><p>Zuñi, survey of pueblo of</p></td>
+<td class="number"><a href="#page014">14</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>arrival of the Asanyumu at</p></td>
+<td class="number"><a href="#page030">30</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>portion of site of, formerly occupied by Halona</p></td>
+<td class="number"><a href="#page088">88</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>tradition as to occupancy of Kin-tiel by the</p></td>
+<td class="number"><a href="#page092">92</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>plans and descriptions of villages of</p></td>
+<td class="number"><a href="#page094">94</a>-<a
+href="#page099">99</a></td>
+</tr>
+<tr>
+<td class="inset">
+<p>description of pueblo of</p></td>
+<td class="number"><a href="#page097">97</a>-<a
+href="#page099">99</a></td>
+</tr>
+<tr>
+<td class="inset">See Cibola.</td>
+<td></td>
+</tr>
+</table>
+
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diff --git a/20784-h/images/plate35.jpg b/20784-h/images/plate35.jpg
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diff --git a/20784-h/images/plate43.png b/20784-h/images/plate43.png
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diff --git a/20784-h/images/plate44.jpg b/20784-h/images/plate44.jpg
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diff --git a/20784-h/images/plate46.png b/20784-h/images/plate46.png
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diff --git a/20784-h/images/plate48.jpg b/20784-h/images/plate48.jpg
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diff --git a/20784-h/images/plate49.png b/20784-h/images/plate49.png
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diff --git a/20784-h/images/plate49thumb.png b/20784-h/images/plate49thumb.png
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diff --git a/20784-h/images/plate5.png b/20784-h/images/plate5.png
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diff --git a/20784-h/images/plate50.jpg b/20784-h/images/plate50.jpg
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diff --git a/20784-h/images/plate51.jpg b/20784-h/images/plate51.jpg
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diff --git a/20784-h/images/plate52.png b/20784-h/images/plate52.png
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diff --git a/20784-h/images/plate52thumb.png b/20784-h/images/plate52thumb.png
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diff --git a/20784-h/images/plate53.jpg b/20784-h/images/plate53.jpg
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diff --git a/20784-h/images/plate54.jpg b/20784-h/images/plate54.jpg
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diff --git a/20784-h/images/plate55.png b/20784-h/images/plate55.png
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diff --git a/20784-h/images/plate57.jpg b/20784-h/images/plate57.jpg
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diff --git a/20784-h/images/plate58.jpg b/20784-h/images/plate58.jpg
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diff --git a/20784-h/images/plate59.jpg b/20784-h/images/plate59.jpg
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diff --git a/20784-h/images/plate6.jpg b/20784-h/images/plate6.jpg
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diff --git a/20784-h/images/plate60thumb.png b/20784-h/images/plate60thumb.png
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diff --git a/20784-h/images/plate65.jpg b/20784-h/images/plate65.jpg
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