the grand canyon of arizona-第21章

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　children。

Details　of　Construction。　In　this　room　there　are　several　features　of　interest。　First　notice　the　construction　of　the　building。　The　roof　is　supported　by　a　massive　upright；　in　a　crotch；　or　V；　on　which　the　cross　rafters　rest。　Lesser　poles　are　placed　upon　these　at　right　angles；　which　in　turn　support　arrow…weed；　willows；　and　other　light　brush。　In　the　genuine　Hopi　construction；　mud　is　then　plastered　or　laid　thickly　over　these　willows；　but　as　these　rooms　contain　valuable　collections　of　goods；　a　modern　roofing　has　been　used；　which；　however；　does　not　in　any　way　detract　from　the　〃realness〃　of　the　building。

Fireplace。　In　the　corner　is　one　of　the　quaint　hooded　fireplaces；　with　the　raised　hearth；　exactly　similar　to　several　I　have　sat　before　in　Oraibi；　while　my　hospitable　hostess　prepared　some　Hopi　delicacy　or　substantial　food　to　tickle　the　palate　or　appease　the　hunger　of　her　welcomed　guest。

Mealing　Stones。　On　the　left　is　a　quartet　of　corn…grinders；　walled　in　from　the　floor　by　stone　slabs　laid　in　cement。　In　every　pueblo　house；　a　〃battery〃　of　these　mealing　stones　is　to　be　found；　and　it　is　one　of　the　commonest　of　sights　to　find　the　women　and　girls　on　their　knees；　with　the　grinder　in　hands；　rubbing　it　briskly　up　and　down　with　the　swing　of　the　body；　while　every　few　moments；　with　a　deft　movement　of　the　hand；　the　grain　is　thrown　between　the　grinder　and　the　stone　beneath。　The　motion　reminds　one　much　of　that　required　over　the　washing　board。　While　thus　at　work；　the　Pueblo　women　sing　some　of　their　sweetest　songs。

Hair　Dressing。　Occasionally　when　a　Hopi　mother；　whose　daughter　has　reached　maidenhood；　is　located　in　the　Hopi　House；　one　may　chance　to　find　her　engaged　in　turning　the　heavy　black　hair　of　her　〃mana〃　into　the　big　whorls　on　the　side　of　her　head　which　are　the　Hopi　emblem　of　maidenhood　and　purity。　The　mother　herself　wears　her　hair　in　two　pendant　rolls。　These　are　the　symbols　of　fruitfulness　and　chastity。

It　is　interesting　also　to　see　them　make　piki；　a　process　elsewhere　fully　described。

Various　Baskets。　In　the　various　rooms　on　the　ground　floor；　the　observing　and　curious　will　find　quite　a　number　of　quaint　architectural　devices。　The　chief　attractions　to　most　visitors　are　the　various　Indian　goods。　There　are　baskets　made　by　every　Indian　tribe　in　North　America；　Navaho　wedding　baskets　made　by　Paiutes　and　used　also　by　Apaches　as　medicine　baskets；　Havasupai；　Pima；　Hopi；　and　Katchina　plaques；　Hupa　and　Poma　carrying　baskets；　Haida；　Makah；　Mescalero；　Apache；　Mission；　Chimehuevi；　Washoe；　and　a　score　of　others。　Here　are　pinion　covered　water…bottles　of　Navaho　（tusjeh）；　Havasupai　（esuwa）；　and　Apache　（tis…ii…lah…hah）。　Note　the　vast　difference　in　the　native　names　for　practically　the　same　thing。

Hopi　Katchinas。　The　Hopi　Ethnologic　Collection　（on　second　floor）　is　the　best　in　the　world；　with　the　exception　of　the　collection　in　the　Field　Columbian　Museum；　Chicago。　In　this　collection　are　a　large　number　of　katchina　dolls。　Of　these　katchinas　much　might　be　written。　They　are　ancient　ancestral　representatives　of　certain　Hopi　clans　who；　as　spirits　of　the　dead；　are　endowed　with　powers　to　aid　the　living　members　of　the　clan　in　material　ways。　The　clans；　therefore；　pray　to　them　that　these　material　blessings　may　be　given。　〃It　is　an　almost　universal　idea　of　primitive　man；〃　says　Fewkes；　〃that　prayers　should　be　addressed　to　personations　of　the　beings　worshipped。　In　the　carrying　out　of　this　conception　men　personate　the　katchinas；　wearing　masks；　and　dressing　in　the　costumes　characteristic　of　these　beings。　These　personations　represent　to　the　Hopi　mind　their　idea　of　the　appearance　of　these　katchinas　or　clan　ancients。　The　spirit　beings　represented　in　these　personations　appear　at　certain　times　in　the　pueblo；　dancing　before　spectators；　receiving　prayer　for　needed　blessings；　as　rain　and　good　crops。〃

Powamu　and　Niman：　The　katchinas　are　supposed　to　come　to　the　earth　from　the　underworld　in　February　and　remain　until　July；　when　they　say　farewell。　Hence　there　are　two　specific　times　which　dramatically　celebrate　the　arrival　and　departure　of　the　katchinas。　The　former　of　these　times　is　called　by　the　Hopi　Powamu；　and　the　latter　Niman。　At　these　festivals；　or　merry　dances；　certain　members　of　the　participating　clans　wear　masks　representing　the　katchinas；　hence　katchina　masks　are　often　to　be　found　in　Hopi　houses　when　one　is　privileged　to　see　the　treasures　stored　away。　In　order　to　instruct　the　children　in　the　many　katchinas　of　the　Hopi　pantheon；　tihus；　or　dolls；　are　made　in　imitation　of　the　ancestral　supernal　beings；　and　these　quaint　and　curious　toys　are　eagerly　sought　after　by　those　interested　in　Indian　life　and　thought。　Dr。　Fewkes　has　in　his　private　collection　over　two　hundred　and　fifty　different　katchina　tihus；　and　in　the　Field　Colombian　Museum　there　is　an　even　larger　collection。

Katchina　Baskets。　For　use　in　the　katchina　dances；　katchina　baskets　are　made；　and　if　one　were　to　start　a　collection　of　all　the　katchina　baskets　of　the　Hopi；　he　could　look　forward　to　possessing；　in　time；　as　large　a　number　as　Dr。　Fewkes　has　of　katchipa　dolls。

Indian　Pottery。　Hopi；　Acoma；　Santa　Clara；　Zuni　and；　other　pottery　abounds　side　by　side　with　Navaho　blankets；　war　clubs；　bridles；　quirts；　moccasins；　Sioux　beadwork；　pouches；　and　baby…carrying　baskets。　Not　only　can　the　Navaho　women　be　found　weaving　blankets；　but；　what　comparatively　few　white　persons　have　ever　seen；　in　one　of　the　rooms　is　a　Hopi　man　weaving　a　blanket；　which　I　question　could　be　told　from　a　Navaho；　even　by　an　expert；　unless　he　saw　it　woven。　In　another　room；　the　Hopi's　wife　is　making　pottery。

During　the　day；　time；　when　required；　the　attendants　will　gladly　show　visitors　the　collection　of　rarer　curios　on　the　second　floor。　An　anachronism　introduced　here；　to　meet　modern　requirements；　is　the　indoor　stairway；　but　one　excuses　it　for　the　sake　of　the　interesting；　symbolic；　katchina　figures　that　have　been　painted　on　the　staircase　walls。

Mexican　Antiques。　Here　one　room　is　devoted　to　Mexican　antiques；candlesticks；　crucifixes；　paintings；　tapestry；　bells；　incense…burners；　wooden　plow；　a　model　of　the　ancient　caretta；　chairs；　daggers；　etc。

Alaska　Room。　The　Alaska　Room　contains　models　of　totem　poles；　carvings　on　ivory　and　wood；　boats；　snowshoes；　shields；　baskets　of　several　varieties；　Haida　hats；　etc。

Ancient　Blankets。　The　Old　Blanket　Room　contains　an　assortment　of　the　rarer　and　older　Navaho；　Mexican　and　Chimillo　blankets；　some　of　which　are　in　the　exquisite　old　colors　used　before　modern　aniline　dyes　were　known。　Scattered　about　also　are　some　rare　pieces　of　ancient　pottery　in　black　and　white；　dug　out　from　ruins　in　Arizona　and　New　Mexico。

Hopi　Altar　Room。　By　far　the　most　interesting　room　in　the　house　to　the　thoughtful　inquirer　is　the　Hopi　Altar　Room。　Here　are　two　reproductions　of　altars　made　by　the　ethnologist；　Rev。　H。　R。　Voth；　who　was　led　to　his　study　of　the　Hopi　while　a　Mennonite　missionary　to　the　Oraibi　pueblo。　These　altars　are　thus　described　by　him：

Tao　Altar。　One　of　the　fraternities　among　the　Hopi　Indians　of　Arizona　is　the　Tao　or　Singer　Society。　Such　altars　are　erected　in　connection　with　the　sacred　and　secret　ceremonies　in　underground　rooms　or　kivas　in　the　different　Hopi　villages。　Around　these　altars　the　priests　arrange　themselves；　squatting　on　the　floor；　during　their　ceremonies；　and　engage　in　singing；　sprinkling　of　sacred　meal；　smoking；　asperging　of　sacred　water；　etc。　Here　they　prepare　their　prayer　offerings；　utter　their　prayers；　and　practise　numerous　other　religious　rites。　Of　the　slabs　and　sticks　in　the　ridge　of　the　altar　those　of　a　zigzag　form　represent　lightning；　which　is　supposed　to　emanate　from　clouds；　which　are　represented　by　the　terraced　parts　on　top　of　the　slabs。　The　flat　slabs　symbolize　stalks　of　corn；　with　ears　of　corn　carved　on　them。　The　thin　sticks　are　supposed　to　represent　the　departed　members　of　the　society。　In　front　of　the　slabs　are　seen　four　bahos　or　prayer　sticks；　composed　of　two　short　sticks；　a　turkey　feather；　two　kinds　of　herbs；　and　corn…husk　pocket　containing　sacred　meal　and　honey。　The　object　to　the　right；　and　in　front　of　the　ridge；　is　the　tipone　or　sacred　badge　of　the　society。　It　usually　consists　of　an　ear　of　corn；　wound　with　cotton　twine；　and　having　on　its　top　feathers　of　different　birds；　to　its　sides　are　tied　sundry　pieces　of　shell；　turquoise；　and　other　objects。

In　front　of　the　altar　stands　a　medicine　bowl；　which　is　surrounded　by　six　ears　of　corn；a　yellow　one　on　the　north　side；　a　dark　bluish　one　on　the　west　side；　a　red　one　south；　a　white　one　east；　a　black　one　on　the　northeast　（representing　above）；　and　sweet　corn　ear　on　the　southwest　（representing　below）。　From　this　bowl；　sacred　water　is　asperged；　and　from　a　meal　tray　sacred　meal　is　sprinkled　on　the　altar　during　ceremonies。

Powamu　Altar。　In　the　centre　of　the　Powamu　Altar　is　the　framework。　The　four　scenic　circles　on　and　over　the　head…piece　represent　clouds；　and　the　symbol　on　the　uprights　blossoms；　clouds；　falling　rain；　etc。　The　larger　of　the　idols　within　the　framework　represents　Chowilawn；　the　God　of　Germination　and　Growth；　the　smaller　one；　Sotukonangwun；　the　God　of　Thunder；　and　the　small；　black　figurine　to　the　left　of　the　framework　is　the　representation　of　Pookong；　the　God　of　War。　Between　these　idols　stand　numerous　slabs；　the　zigzag　formed　representing　lightning；　the　straight　ones　stalks　of　corn；　etc。　On　each　side　of　the　altar　proper　stands　a　large　wooden　tablet；　on　which　is　drawn　a　picture　of　the　Hiv　Katchina；　a　personage　that　figures　conspicuously　in　the　ceremony　on　the　sixth　day；　in　which　children　are　initiated　into　the　Katchina　order。　On　this　occasion　masked　and　gorgeously　dressed　men；　who　are　supposed　to　be　represented　by　these　pictures；　flog　these　small　candidates　for　initiation。

In　front　of　the　altar　may　be　seen　a　square；　sand　picture；　containing　cloud　symbols；　prayer　offerings；　blossoms；　etc。　Between　this　sand　mosaic　and　the　altar　proper　are　rattles；　a　medicine　bowl；　ears　of　corn；　meal　trays；　eagle　feathers；　and　other　objects。

The　large　object　at　the　extreme　left；　consisting　of　a　terraced　tablet　at　the　top；　several　zigzag　sticks；　and　a　stand　at　the　bottom；　represents　clouds　and　lightning。　The　tablet　and　also　the　drawing　in　the　upper　part　of　it　represent　clouds；　the　crooked　sticks　lightning；　and　the　two　circular　drawings；　in　the　lower　part　of　the　tablet；　symbolize　blossoms。　The　small　idol　between　two　of　the　sticks　is　a　figurine　of　Chowilawn。

The　symbol　to　the　right　of　the　altar　on　the　back　wall；　consisting　of　several　semicircles；　is　that　of　towering　rain　clouds；　with　two　rays　of　lightning　emanating　upward　from　it。　The　small；　black　lines　on　the　lower　border　represent　rain。　To　the　left　of　the　altar；　on　the　same　wall；　appears　the　typical　Hopi　sun　symbol；　and　on　the　left　side　wall　that　of　the　mythical　water　serpent；　Balolookang。　All　of　these　wall　pictures；　however；　are　not　an　essential　part　of　the　altar。

This　altar；　like　the　one　of　the　Tao　Society；　was　reproduced　by　Mr。　Voth。　One　of　the　subjects　of　his　study　was　this　altar　and　the　various　ceremonies　connected　with　it；　and　while　he　was　making　these　studies　he　succeeded　in　obtaining　the　photographs；　drawings；　measurements；　notes；　etc。；　from　which　he　reproduced　this　elaborate　piece　of　sacred　Hopi　ceremonial　paraphernalia。

Hopi　Door。　The　door　itself　leading　into　this　Altar　Room　is　an　interesting　antique。　I