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 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 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 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 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 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 great horror. All in the line having gone through this

ceremony the crowd of spectators sprinkled the masks in the same manner.

I 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.

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 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.

NINTH DAY.

FIRST CEREMONY.

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 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 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.

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.

SECOND CEREMONY.

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 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.

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 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.

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 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 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.

SONG OF THE ETSETHLE.

From below (the earth) my corn comes

I walk with you.

From above water young (comes)

I walk with you.

From above vegetation (comes to the earth)

I walk with you.

From below the earth corn pollen comes

I walk with you.

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.

PRAYER TO THE ETSETHLE.

“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.”

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 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.

CONCLUSION--THE DANCE.

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.

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 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 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 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.

MYTHS OF THE NAVAJO.

CREATION OF THE SUN.

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.”

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.

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.[6] 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.

[Footnote 6: 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 it.”]

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 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 have the chanteen; I 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.

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 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. 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.

HASJELTI AND HOSTJOGHON.

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.”

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 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.

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.

THE FLOATING LOGS.

A man sat thinking, “Let me see; my songs are too short; I want more

songs; where shall I go to find them?” Hasjelti appeared and, perceiving

his thoughts, said, “I know where you can go to get more songs.” “Well,

I 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 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 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.[7] 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.[8]”

[Footnote 7: The Naaskiddi are hunchbacks; they have clouds upon

their backs, in which seeds of all vegetation are held.]

[Footnote 8: 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.]

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 it.

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.

The old song priest who related this myth to me regretted that so few of

his people now visited the sacred spot.

“When I was young,” he said, “many went there to pray and make

offerings.”

NAIYENESGONY AND TOBAIDISCHINNI.

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.

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 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.

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 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 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.”

THE BROTHERS.

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 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 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 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.

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 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 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 brothers

were up early and saw the boy approaching. They said, “I 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.”

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 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 never heard such a noise.” The brothers then

remarked, “I 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 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 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 do not know how, but all these things come to my mind and my eyes.”

The elder brother said, “I 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 (_Bigelovia Douglasii_[9]) 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

passed him, but he again headed them off by hiding in the stalks of a

large yucca.[10] 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

[Illustration], 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.”

[Footnote 9: The _Bigelovia Douglasii_ is made into rings and used

in the ceremonial Hasjelti Dailjis with direct reference to this

occurrence.]

[Footnote 10: Ceremonial rings are also made of the Spanish bayonet

(yucca).]

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 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.

THE OLD MAN AND WOMAN OF THE FIRST WORLD.

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.

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 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.

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.

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.

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.

Errors and Anomalies for “Ceremonial of Hasjelti Dailjis”:

Unusual letters:

Tab’aestch’lŏnni

Tab’aestch’l[)o]nni (short “o”)

Tanā’shkiji

Nänesk’ādi

Tkāditin

Tan[-a]’shkiji ... Nänesk’[-a]di ... Tk[-a]ditin (long “a”)

Tsēste’lttsoi

Ts[-e]ste’lttsoi (long “e”)

turquois : turquoise

_the spelling without final “e” is standard for Bureau of Ethnology

publications; in this article the forms are used interchangeably_

Bunches of pine boughs, which during the forenoon had been made into

wreaths by joining pieces together with yucca in this fashion were

[Illustration], laid across each end of the rug.

_probably an error for “in this fashion [Illustration], were laid”_

* * * * *

INDEX.

Page.

A.

Acoma, arrival of the Asanyumu at 30

direction of kivas of 116

kiva trap-doors at 207

Adobe, use in Tusayan 54, 78

use in Zuñi attributed to foreign influence 139

necessity for protecting against rain 156

used in Spanish churches 224

Adobe balls used in garden walls 146

Adobe bricks, In Hawikut church 81

use modern in Zuñi 138

Adobe mortar, in Tâaaiyalana structures 90

Cibola and Tusayan use of, compared 137

Adobe walls on stone foundation at Moenkopi 78

Áikoka. See Acoma 30

Aiyáhokwi, the descendants of the Asa at Zuñi 30

Alleyway, Hawikuh 81

Altar, conformity of, to direction of kiva 116

Andiron, Shumopavi 176

Annular doorway 192, 193

Apache, inroads upon Tusayan by the 25, 26, 35

exposure of southern Cibola to the 96

Appropriations and expenditures for 1886-’87 XXXVI

Architectural nomenclature 220, 223

Architecture, comparison of constructional details

of Tusayan and Cibola 100-223

adaption to defense 226, 227

adaption to environment 225, 226, 227, 228

Art, textile and fictile,

degree of Pueblo advancement in 227

Arts of Cibola and Tusayan closely related 224

Asa, migrations of the 30, 31

language of the 37

houses of, Hano 61

Asanyumu. See Asa.

Awatubi, survey of 14

Spanish mission established at 22

when and by whom built 29

settlement of the Asa at 30

attacked by the Walpi 34

description of ruins of 49, 50

possession of sheep by the 50

clay tubes used as roof drains at 155

fragments of passage wall at 181

Aztecs, ruined structures attributed to the 225

B.

Badger people leave Walpi 31

Baho, use of, in kiva consecratory

ceremonies 119-120, 129, 130

Balcony, notched and terraced 187

Banded masonry 145

Bandelier, A. F., description of chimney 173

explorations of 197

on ancient stone inclosures 216

Bat house, description of ruin of 52

Bátni, the first pueblo of the Snake people of Tusayan 18

Bedsteads not used by Pueblos 214

Beams, Tusayan kivas, taken from Spanish church

at Shumopavi 76

for supporting upper walls 144

modern finish of 149

construction of steps upon 162

for supporting passageway wall 181

Chaco pueblos, how squared 184

Bear people, settlement in Tusayan of the 20, 26

removal to Walpi of the 21, 27

movements of 27, 30, 31, 38

Bear-skin-rope people,

settlement in Tusayan of the 26, 27

Benches or ledges of masonry, Zuñi rooms 110

Tusayan kivas 121, 123, 125

Mashongnavi mungkiva 127

around rooms of pueblo houses 213

Bigelovia Douglasii (sage brush) used as thatch

to Navajo sweat-house 239

used to produce smoke in sweat house 240, 244

Biloxi Indians, linguistic researches among XX

Bins for storage in Tusayan rooms 109, 209, 210

Blankets formerly used to cover doorways 182, 188, 189, 194

Blue Jay people, settlement in Tusayan of the 26, 27

Bond stones used in pueblo walls 144, 198

Boss, or andiron, Shumopavi 176

Bourke, Capt. J. G., Pueblo vases, etc., presented by XXV

Boundary line, Hano and Sichumovi 36

Boundary mark, Shumopavi and Oraibi 28

Boxes for plumes 210

Bricks of adobe modern in Zuñi 138

Brothers (The), Navajo myth 280-284

Brush, use of, in roof construction 150

Brush shelters 217-219

Burial custom of K’iakima natives 86

Burial inclosures at K’iakima 147

Burial place of Zuñi 148

Burrowing Owl people, settlement in Tusayan of the 26

Bushotter, Geo., work of XXIX

Buttress, formerly of Halona, existing in Zuñi 88, 89

Buttress projections, Zuñi 111

Tusayan rooms 109, 110

girders supported by 144

chimney supported by 172, 173

support of passageway roofs by 181

C.

Cages for eagles at Zuñi 214

Canyon de Chelly, proposed study of ruins of 14

Tusayan, tradition concerning villages of 19

early occupancy of, by the Bear people at Tusayan 20

occupied by the Asa 30

use of whitewash in cliff houses of 74, 145

circular kivas of 117, 133

finish of roofs of houses of 150, 151

doorway described and figured 190

cliff dwellings of 217

Casa Blanca, traces of whitewashing at 145

Castañeda’s account of Cibolan milling 211, 212

Cattle introduced into Tusayan 22

Cave lodges occupied in historic times 225

Cave used by inhabitants of Kwaituki 57

Ceiling plan of Shupaulovi kiva 123, 125, 126

Ceilings, retention of original appearance

of rooms through nonrenovation of 89

Cellars not used in Tusayan and Cibola 143

Ceremonial chamber. See Kiva.

Ceremonial paraphernalia of Tusayan

taken by the Navajo 50

Ceremonies connected with Tusayan house-building 100-104, 168

Ceremonies accompanying kiva construction 115, 118

Ceremonies performed at placing of Zuñi ladders 160

Chaco ruins, character of 14, 70

compared with Kin-tiel 92

finish of masonry of 140, 226

upper story partitions of, supported by beams 144

finish of woodwork of 149, 184

symmetry of arrangement of outer openings of 195

loop-holes in walls of 198

Chairs, lack of in Pueblo houses 212

Chair of modern form in Zuñi 213

Chalowe, description of 83

Chants in Navajo ceremonial 245, 246

Charred roof timbers of Tusayan kiva 120

Children, initiation of, in Navajo ceremonial 266, 267

Chimney. See Fireplace.

Chimney-hoods, how constructed 169-175

Chimneys, traces of in K’iakima 85

remains of, at Matsaki 86

Tusayan 102

Zuñi 111

described and figured 167-180

Chukubi pueblo, built by the Squash people 25

description 58, 59

fragments of passage wall at 181

Church, Shumopavi, established by Spanish monks 75, 76

Hawikuh 81, 138

Ketchipauan, remains of 81, 82

in court of Zuñi 98, 138, 148

See Mission.

Churches established in Zuñi and Tusayan 224

Cibola, ruins and inhabited villages of 80-99

architecture of compared with that of Tusayan 100-223

See Zuñi.

Circular doorway of Kin-tiel described 192

Circular kivas, antiquity of 116

traditional references to 135

absent in Cibolan pueblos 224

Circular room at Oraibi Wash 54-55

Circular rooms at Kin-tiel 93

Circular wall of kiva near Sikyatki 117

Clay surface of pueblo roofs 151

Clay tubes used as roof drains 155

Cliff dwellings, Moen-kopi 54

use of whitewash in 74

absence of chimneys in 168

developed from temporary shelters 217

occupied in historic times 225

Climatic conditions, effect of,

upon pueblo architecture 140, 227

Clustering of Tâaaiyalana ruins 89-90

Cochití claimed to be a former Tewa pueblo 37

Comecrudo Indians, linguistic researches among XXI

Communal village, development of pueblo architecture

from conical lodge to 226

Consecration of kivas 129

Contours represented on plans, interval of 45

Cooking, pueblo method of 164

Cooking pits and ovens described 162-166, 176-177

Cooking stones of Tusayan, flames of 104

Copings of walls described 151-152

Coping of hatchways 203

Coping. See Roof-coping.

Cords, used for suspending chimney 170

Corner stones of Tusayan kivas 119

Corrals, Payupki 59

Sichumovi 62-63

Hawikuh 81

Ketchipauan 81

modern, at K’iakima 85

how constructed 146

described in detail 214-217

Cotton cultivated by the Tusayan 33

Courts, Mishiptonga 52

Kwaituki 56

Courts, Chukubi 59

Sichumovi 62

Walpi 63

Mashongnavi 68

Shupaulovi 71

Shumopavi 74

Hawikuh 81

Ketchipauan 81

Matsaki 86

Tâaaiyalana 90

Kin-tiel 92

Pescado 95

Zuñi 98

Covered way, how developed 76

Covered passages and gateways described 180-182

Coyote people, settlement in Tusayan of the 26

Coyote kiva, direction of the 116

Crossbars used in fastening wooden doors 183

Crosspieces of ladders 159

Crows, Navajo myth concerning 281

Cruzate, visit to Awatubi of 49

Culture of pueblo tribes, degree of 227

Curtin, Jeremiah, work of XXI, XXIX

Curtis, Wm. E., pottery, etc.,

from Peru presented by XXVI

Cushing, Frank H., work of XXIV, XXV

identifies K’iakima as scene of death of Estevanico 86

excavations at Halona 88, 193

opinion concerning western wall of Halona 89

opinion concerning distribution of Tâaaiyalana ruins 89-90

on the former occupancy of Kin-tiel 92

Halona identified as one of the Seven Cities of Cibola 97

on Zuñi tradition concerning stone-close 192

D.

Dais of kivas 121, 122, 123

Dance, in the ceremony of Hasjelti Dailjis 273-275

Dance ceremony in kiva consecration 130

Dance rock, Tusayan, reference to snake dance of 65

Débris, how indicated in plans of ruins 45

an indication of original height of walls 90

Decoration, house openings 145-146

Kiva roof timbers 119, 120

ladder crosspieces 159

roof beams 123, 124

wall of Mashongnavi house 146

wooden chair 213

Zuñi window sashes 196

Deer horns used as pegs in Zuñi 111

Deerskins, for sweat houses and masks in Navajo

ceremonial must be from smothered animals 242

over the entrance of a Navajo sweat-house,

signification of 242

Defense, wall for, at Bat House 52

a motive for selection of dwelling site 56

architecture relied upon for 58

method of, of Payupki 59, 60

not a factor in selection of Mashongnavi site 67

features of, at Ojo Caliente 69

wall for, at Pueblo Bonito 70

features of, at Tusayan and Zuñi compared 76

sites chosen for, inconvenient to sources

of subsistence 77

use of Ketchipauan church for, by natives 82

the motive of occupation of Tâaaiyalana mesa 90

provision for, at Kin-tiel 92, 93

provisions for, in Ketchipauan church 96

motive for, dying out in Zuñi 96-97

efficiency of, at Zuñi 97

not a motive in selection of site of Zuñi 97

gateways arranged for 180, 182

loopholes for 198

adaptation of architecture to 225

Doors to ground floor rooms of Zuñi 143

Doors of various lands described 183-194

Doorway, Walpi kiva, closed with cottonwood slab 64

Kin-tiel 93

position of, in Tusayan 103

stepped form in Tusayan 109

how sealed against intrusion 110

window and chimney in one 121

annular 193

Doorways, closed with masonry 183, 187, 188, 189

why made small 197

Dorsey, J. Owen, work of XXVIII-XXIX

Drainage of roof, relations of certain roof

openings to 203-204

Drains of roofs described 153-156

Drains. See roof drains.

E.

Eagle cages of Zuñi 214

Eagle people, migration legend of the 28

Earth used in pueblo roof construction 150

Eaves, lack of, in Tusayan houses 102

Echo Cave fireplace described 168

Emmert, J. W., work of XIX

Entrances, uniformity of direction of,

in Zuñi kivas 116

Environment, adaptation of architecture to 225, 226, 227, 228

Eskimo, work on XXVII, XXVIII

Estevanico’s death, at K’iakima 86

Esthetle, the first ones, Navajo ceremonial 264, 271, 272

song of 272

prayer to 272

Estufa. See Kiva.

Etseastin and Etseasun, Navajo myth 284-285

Expenditures of Bureau of Ethnology for 1886-’87 XXXVI

F.

Families occupying Oraibi 105-108

Farming outlook, Matsaki used as 86

near Kin-tiel 93

Farming pueblos, Cibola 14

Moen-kopi 77

Nutria 94, 95

Pescado 95-96

Ojo Caliente 96

Zuñi 198

Fastenings of doors 186

Feathers, use of, in house-building ceremonies 101, 102

Feather wand or baho used in

kiva-building ceremonials 119, 120, 129, 130

Fences of corrals and gardens 215, 217

Fetiches, where placed during kiva ceremonial 122

Tusayan kivas 130, 131

Field work XVIII, XXIII

Financial statement XXXVI

Fire gens, Tebugkihu constructed by the 57

Fire-house or Tebugkihu, Tusayan 20, 57, 100, 142, 224

Fire people of Tusayan,

migration of the 20

Fireplaces 102, 109, 121, 125, 163, 167-180

Floor, Mashongnavi house 109

stone flags, Tusayan kiva 121

sandstone slabs, Shupaulovi kiva 123

Floors in pueblo buildings,

various kinds described 121, 135, 148-151

Folk-tale of the Zuñi, describing stone-close 193

Food sacrifices in Tusayan house building 101, 102

Foods used during Navajo medicine ceremonial 236, 257

Fortress houses the highest type of

Pueblo construction 77

Fowke, Gerard, work of XX, XXIV

Frames of trap-doors, method of making 206

Framing of windows, method of 196-198

Fuel, how stored in Tusayan 103

Fuel used in kivas 121

Fuel of kivas, where stored 124

Furniture of the Pueblos described 208-214

G.

Gaming ring of Navajo ceremonial 238

Gardens and corrals of the Pueblos 214-217

Gardens and garden walls 215-217

Garden walls, how constructed 146

Gateway at Awatubi 49

Gateway jambs at Kin-tiel, finish of 181

Gateways, probable existence in Kin-tiel of 93

Gateways and covered passages described 180-182

Gateways of corrals 214

Gatschet, A. S., work of XX, XXI, XXVIII

Genesis myth of the Tusayan 16

Gentes of Tusayan, grouping of houses by 24

land apportionment by 29

list of traditionary 38

localization of 104-108

Georgia, archeologic work in XIX

Girders supporting upper walls 144

Tusayan houses supported by piers 151

Glass used in modern Pueblo windows 193

Glazing of Pueblo windows 196, 197

Goat kiva of Walpi, height of 119

Gourd used as roof drain 154, 155

Grass, use of, in roof construction 150

Graves, probable existence of, in Kin-tiel 93

Gravestones at K’iakima 85, 86, 147

Greasewood, the ordinary kiva fuel 121

Grinding stones. See Metate; Milling.

Ground plan, Mashongnavi room 108

Shupaulovi kiva 125

Ground plans of Zuñi and Tusayan compared 76

of mesa villages influenced by prevailing winds 182

Guyave or piki oven 173, 175

Gyarzobi or Paroguet kiva, roof timbers of 120

Gypsum used as whitewash 73, 74, 172

H.

Hairdressing among the Tusayan 37

Halona, description of 88, 89

remains of the nucleus of Zuñi 97, 98

walls of the nucleus of modern Zuñi 138

stone-close at, described 193

“Halving” of timbers in kiva trap-frames 206

Hampassawan, description of 83-85

Hand-holds cut in faces of cliffs 191

Hand-holds in frames of trap-doors 192

Hano, Asa group occupy site of 30

description of 61, 62

direction of kivas of 115

kiva, ownership of 134

kivas, list of 136

rude transom over roof beam in 187

sealed openings in 199

Hano people, length of time spent in Tusayan by the 35

received by the Tusayan 36

trouble between the Walpi and 37

Hanomuh, the inhabitants of Hano 17

definition of 36

Hano traditions regarding settlement in Tusayan 35

Harvest time, how determined in Zuñi 148

Hasjelti and Hostjoghon, mythical history of 277

Hasjelti Dailjis and Navajo sand painting,

notice of paper by James Stevenson on XXXIV-XXXVI

paper by James Stevenson on 229-285

Hatchways to pueblo houses 110, 120, 121, 124, 127

Hawikuh, description of 80, 81

Hawikuh church, durability of masonry of 138

Hemenway Southwestern Archeological Expedition,

excavations at Halona 193

Henshaw, Henry W., work of XXVIII

Hewitt, John N. B., work of XXVIII

High-house people, a Navajo clan 30

Hinged sashes not in use in Zuñi 196

Hinges of Pueblo doors 184

Hodge, F. Webb, on stone-close of Halona 193

Hoffman, W. J., work of XXI-XXIII, XXIX

Holmes, William H., work XXV, XXVI

on ruins of the San Juan 147

Homólobi, the early home of the Sun and Water peoples 29

legend of Water people concerning 31

Hopituh, the native name of the Tusayan 17

Hopituh marriage within phratries and gentes 24

Horn House, description of ruin of 50, 51

Horn people migration legend 18

early settlement in Tusayan of the 19

House-building rites of Tusayan 100-104

House clusters in Zuñi, arrangement of 98

Hungo Pavie, finish of roofs in 150

I.

Indian synonymy, work on XXVIII

Interior arrangement of pueblos 108-111

Interior of Zuñi house described 110

Irrigation of gardens near Walpi 217

J.

Jackson, W. H., on ruins of the San Juan 147

photographs of pueblo ruins by 147

describes fireplace of Echo Cave 168

Jar of large size used for storage 210

Jars used in chimney construction 180

Jeditoh group of ruins 52, 53

Jemez oven-opening described 165

K.

Kaékibi, an ancient pueblo 30

Kaiwáika. See Laguna 30

Kápung. See Santa Clara 37

Katchina kiva of Oraibi 135

Katchina people depart from Oraibi for eastern

Tusayan villages 26, 27

Katchinkihu, occurrence of,

in ruined kiva near Sikyatki 117

described 121, 123

Shupaulovi kiva 126

Mashongnavi mungkiva 127

Kentucky, archeologic work in XX

Ketchipauan church built of stone 224

Ketchipauan, description of 81-83

Kiáini. See High-house people 30

K’iakima, description of 85, 86

upright stone slabs at 147

Kikoli rooms occupied in winter 103, 104, 131

Kin-tiel, description of 91-94

compared with Nutria 94

compared with Pescado 96

plan of, prearranged 100

compared with Oraibi 114

occurrence of upright stone slab at 147-148

beams of ruins of 149

upper room of, paved with stone 151

fireplace in room of 163, 168

defensive gateway at 181

finish of gateway jambs at 181

circular doorway at, described 192, 193

openings at, of uniform height 194

site of 224

Kisákobi, description of pueblo of 21

Kishoni, or uncovered shade 217-218

“Kisi” construction 217-219

Kitdauwi--the house song of Tusayan 118-119

Kiva, study of construction of 14

remains of, at Payupki 60

Mashongnavi 66

of Moen-kopi 78

origin of the name 111

ancient form of 116, 117

native explanation of position of 118

duties of mungwi, or chief of the 133

ownership of 133-134

motive for building 134-135

significance of structural plan of 135

measurements of 136

hatchways of 201-202, 205-207

openings of, at Acoma 207

See Mungkiva.

Kivas, excavated, at Awatubi 50

Hano 61

Sichumovi 62

Walpi 63, 64, 65

Shupaulovi 72

Shumopavi 74

Kin-tiel and Cibola compared 93

Zuñi, where located during Spanish occupancy 99

in Tusayan 111-137

typical plans of 118-129

dimensions of 118, 136

of, measurements of 118, 136

annually repaired by women 129

uses of 130

nomenclature of 130, 223-223

Tusayan, list of 136

nonuse of chimneys in 178

Zuñi, stone window-frames of 197

circular, absent in Cibolan pueblos 224

Kótite. See Cochití.

Kwaituki, description of ruin of 56-57

Kwálakwai, Hano tradition related by 35

Kwetcap tutwi, the second pueblo of the snake people

of Tusayan 18

L.

Ladders, arrangement in Tusayan kiva 121

withdrawal of rungs to prevent use of 113

significance of position of, in kivas 135

described 156-162

second-story terrace of Tusayan

reached principally by 182

openings for, in roofs 205

Laguna, arrival of the Asanyumu at 30

Lalénkobáki, a female society of Tusayan 134

Land apportionment by gentes in Tusayan 29

Language of the Asa and Hano of Tusayan 37

Languages of Tusayan, tradition regarding difference in 36

Las Animas ruins, trap-door frames in 206

Latches of doors 186-187

Latch strings used on Zuñi doors 183

Lathing or wattling of kiva walls 126

Ledges of masonry in kivas 121

Ledges or benches around rooms 213

Lenbaki, society of Tusayan 18

Light, method of introducing, in inner rooms 207

Lighting, method of, in crowded portions of Zuñi 99

Lintels of old windows embedded in masonry 200

Lizard people move from Walpi 31, 38

Lock and key of wood, how made 187

Logs (the floating), Navajo myth 278

Loom appurtenances 212

Loom posts of kivas 128-129, 132

Loophole-like openings in pueblo buildings 127, 198

Louisiana, linguistic work in XX

M.

Macomb, J. N., earthenware from North Carolina

presented by XXVI

Mallery, Garrick, work of XXVIII

Mamzrántiki, an Oraibi society of women 134

Mandan ladder described and figured 158

Maricopa, myth of the Water people of Tusayan

concerning the 32

Marriage of the Hopituh within phratries and gentes 24

Mashongnavi, origin of name of 26

settlement of Paroquet and Katchina peoples in 27

settlement of the Water people at 32

description of ruins of 48

age of masonry at 66

description of 66-70

ground plan of room of 108

direction of kivas of 115

description of dais of kiva at 122

list of kivas at 136

wall decoration at 146

notched ladder of 157-158

pi-gummi ovens at 163-164

shrines of 167

chimney hoods of 170-171

second-story fireplace at 174

doorway with transom at 190

corrals of rude stonework at 214

See Old Mashongnavi.

Masks representing various Navajo gods,

Indian uses of 248, 249, 253

Masonry, ancient, at Nutria 94

Ojo Caliente carelessly constructed 96

exterior, of kivas 114

Masonry of Pueblo Bonito, skill shown in 195

Mat close for kiva hatchways 127, 128

Matsaki, description of 86

sun symbol at 148

Meal, sacred, preparation of 256

votive, used in pueblo house-building 101

Mealing trough. See Milling.

Medicine cigarette, in Navajo ceremonial, preparation of 258

disposition of, after use 259

Medicine lodge, Navajo, construction of 237

Medicine tubes in Navajo ceremonial 241, 244, 246,

250, 257, 258, 264

Medicine water used in Navajo ceremonial 255, 263, 269

Metate used as roof-drain 154, 155

Metates, or grinding stones,

how arranged in pueblo houses 109, 110, 210, 211

Mexico, linguistic work in XX, XXI

Middleton, James D., work of XX, XXIV

Migration, effect of, upon pueblo architecture 15

Migration of the Tusayan 17

Migration of Tusayan Water people 31, 32

Migration of the Horn people 18, 19

Migration of the Bear people of Tusayan 20

Migration of the Asanyumu of Tusayan 30

Milling troughs of Pueblo households 109, 210, 212

Mindeleff, Cosmos, work of XXVI, XXVII

acknowledgments to 14, 15

on traditional history of Tusayan 16-41

Mindeleff, Victor, work of XXVI, XXX

notice of paper on pueblo architecture by XXIV

paper on pueblo architecture 3-228

Mishiptonga, description of ruin of 52-53

Mission buildings of Shumopavi 27, 75-76

Mission house at Walpi, timbers of,

used in Walpi kiva 119

Missions of Tusayan 22, 49

Mississippi, archeologic work in XIX

Moen-kopi surveyed and studied 14

description of ruins of 53-54

description of village of 77

Mole people, settlement in Tusayan of the 27

Montezuma Canyon ruins, use of large stone blocks in 147

Monument marking boundary of Oraibi and Shumopavi 28

Mooney, James, work of XXVIII

Morgan, L. H., Mandan ladder described by 158

on trap-door frames in Las Animas ruins 205

Mormon and Pueblo building compared 148

Mormons, effect of the, upon development of Moen-kopi 77

establishment of woolen mill at Moen-kopi by the 78

fort built by, at Moen-kopi 184

lock and key contrivance of 187

Mortar of adobe mud 137

Mortars used in Pueblo households 212

Mortised door in Zuñi house 110,186

Mummy cave, Arizona, ruin in 64

finish of roofs in ruins of 150

Mungkiva, Mashongnavi 127

of Shupaulovi 113, 122

Tusayan 134

N.

Naiyenesgony and Tobaidischinni, mythical history of 279-280

Nambé, Tewa pueblo 37

Navajo, Asa of Tusayan live among 30

huts of, closed with blankets 189

method of sheep-herding compared with Pueblo 214

paper on Hasjelti Dailjis ceremonial

and sand painting of 229-285

Nelson, E. W., work of XXVII

graves unearthed by 86

collection of stone-closes by 193

New York, archeologic work in XIX

ethnologic work in XXI

Niches, use of, in kivas 121, 122

Niches formed in old window openings 110, 200, 208-209

Nomenclature of Tusayan structural details 220-223

North Carolina, work in XXI-XXII

Notched logs used as ladders 157-158

Númi. See Nambé.

Nutria, compared with Kin-tiel 91

description of 91-95

Nuvayauma, old Mashongnavi tradition related by 47-48

Nuvwatikyuobi kiva 120

O.

Oak mound kiva, Tusayan, decadence of membership of 135

Office work XXIII-XXIX

Ohio, archeologic work in XIX, XX

Ohke. See San Juan.

Ojo Caliente, a modern village 54, 96-97

chinked walls of 142

Old man and woman of the first world, Navajo myth 284-285

Old Mashongnavi, tradition concerning occupation of 47-48

Openings, splayed, in Ketchipauan church 82

walls of Tâaaiyalana structures 90

Kin-tiel walls 92, 93

oblique Zuñi 98, 207-208

to kivas 113-114

in wall of Zuñi kiva 114

in lee walls 182

Openings of Pueblo houses banded with whitewash 145-146

Oraibi, retirement of Sikyátki inhabitants to 24

departure of Ketchina and Paroquet peoples from 27

settlement by the Bears of 27

traditions regarding first settlement of 27

settlement of the Water people at 33

affray between the Walpi and 35

description of 76-77

families occupying 105-108

direction of kivas of 115-116

rare use of plastering on outer walls of 144

notched ladders described and figured 157-158

stone steps at, figured 161

corral walls at, laid without mortar 147

distribution of gentes of 104-105

kiva for women 134

list of kivas of 137

kiva, hatchway of 201

corrals at, large size of 214

Oraibi-Shumopavi boundary stone 28

Oraibi wash, ruins on the 54-56

Orientation of kivas 115-116

Ovens at Pescado 95

upon roofs 151

various kinds described 162-166

in Zuñi 164-165

Oven-shaped structures described and figured 167

Oven-surface imbedded with pottery scales 139

P.

Paintings on kiva walls 131

Palát Kivabi, the pristine habitat of the Squash

and Sun people of Tusayan 25, 29

Palmer, Dr. E., Mexican clay vessels presented by XXVI

Paneled doors in modern pueblos 184-186

Parallelogramic form of Tusayan buildings 102-118

Paroquet people, settlement in Shumopavi of the 37

Partitions in Ketchipauan church 82

Partitions of upper story supported by beams 144

Passageways, Shupaulovi 72

Shumopavi 74

rarity of, at Oraibi 76

description of 180-182

Paving Shupaulovi kiva 126

Paving stones of kiva floor, how finished 125

Payupki, tradition concerning pueblo of 40

migration legend 40

description of 59-60

finish of masonry of 143

fragments of passage wall at 181

Peaches planted by the Asa people 30

Pegs, deer horns used as, in Zuñi 111

Pegs for suspending kiva fuel 121

Peña Blanca formerly inhabited by the Hano 35

Peñasco Blanco, occurrence of upright stone slab at 148

method of roof construction at 150

Pescado compared with Kin-tiel 91

description of 95-96

corral walls at, how constructed 147

outside steps at 160

ovens at, described and figured 165-166

fragment of stone close in steps of 193

stone inclosure in court of 214

Pennsylvania, work in XXII-XXIII

Pestles or crushers used with Pueblo mortars 212

Petroglyph, or sun-symbol at Matsaki 86

Ketchipauan church 82

legend of the Tusayan concerning 32

Phratries, Tusayan 24, 38

Pictograph on Oraibi-Shumopavi boundary monument 28

Piers of masonry for supporting girders 151

Piers. See Buttresses.

Pi-gummi ovens of Mashongnavi 163

Piki or guyave oven 173-175

Piki stone, process of making 175

Pilling, J. C., work of XXIV

Pima, myth of the Water people of Tusayan concerning the 32

opinion of the, as to ancient stone inclosures 216

Pinawa, description of 86, 88

Pine invariably used for kiva ladders 135

Pine boughs, application for removing disease

in Navajo ceremonials 247, 250

disposition of, after ceremony 248, 251

Pink clay used in house decorations 146

Pits for cooking 163

Plan of villages, traditional mention of 104

Plans and descriptions, Tusayan ruins 45-60

inhabited villages 61-79

Cibolan ruins 80

Zuñi villages 94-99

Plan of pueblo houses not usually prearranged 100-162

Planting time, how determined in Zuñi 148

Plaster, frequent renewal of, at Shumopavi 73

Plastering, renovation of rooms by frequent 89

on outer walls in Ojo Caliente 96

custom formerly observed in 102

on floor in Mashongnavi 109

kiva walls 115

Shupaulovi kiva, condition of 124-125

Shupaulovi kiva 126

on walls 140

on masonry 144

chimney hoods 169, 172

side hole of door for fastening 183-184

Platform in floor of Tusayan kiva 121

Platform at head of steps 161-162

Plaza. See Court.

Plume boxes 210

Plume stick, baho, or feather wand, used in

Kiva consecratory ceremonials 119-120, 129, 130

Plume-stick shrines at Mashongnavi 167

Pojoaque, a Tewa pueblo 37

Pokwádi. See Pojoaque 37

Polaka, Hano tradition given by 35

Poles for suspension of blankets, etc. 110, 189, 208, 214

Ponobi kiva of Oraibi, wall lathing of 126

Population, enlargement of pueblos necessitated

by increase of 70

Porch posts 81, 82

Posówe, a former Tewa pueblo 37

Posts of porch, remains of, at Hawikuh and Ketchipauan 81, 82

Posts sunk in floor forming part of loom 212

Pots used in chimney construction 179-180

Pottery fragments, Horn House ruin 51

Kwaituki 57

ruin on Oraibi wash 55

used in mud-plastered walls 139

Pottery of Payupki, character of 60

Poultry house of Sichumovi 167

Powell, J. W., work of XXIII

Prayer, on offering medicine tubes to Navajo gods 244

to the Esthetle 272

Prayer plume, or baho, used in kiva

consecratory ceremonials 119, 120, 129, 130

Prayer sticks, how prepared for

Navajo ceremonial 242-243, 264

Props used for fastening wooden doors 183

Publication during year XVIII

Pueblo architecture,

notice of Mr. Victor Mindeleff’s paper on XXX, XXXIV

study of, by Victor Mindeleff 8-228

Pueblo Bonito, additions to 70

the largest yet examined 92

finish of roof of 150

stairway described 160

symmetry of arrangement of outer openings of 195

skill shown in masonry of 195

Pueblo buildings,

mode of additions to 70, 97, 98, 102, 148-149

Pueblo construction in Tusayan

and Cibola, details of 137-223

Pueblo Grande. See Kin-tiel.

Pueblo models constructed XXVII

Pueblo openings, carelessness in placing 196

Pueblo remains, area occupied by 13

Pueblo revolt of 1680 89

Pueblos of Tusayan and Cibola compared 80

Pueblos, inhabited 61-79, 94-99

Pyramidal form of pueblo house rows 61

R.

Rabbit-skin robes used to cover doorways 182, 194

Racks for suspending clothes 208, 214

Rawhide thong used in pueblo construction

to fasten lock 186, 187, 214

Rectangular kivas, antiquity of 116

Rectangular rooms, how developed 226

Rectangular type of architecture 72

Reeds, sacred, for Navajo ceremonial, preparation of 242, 243

Reeds used for kiva lathing 126

Repair of houses infrequent in Tusayan 73

Reservoirs, pueblo 82-83, 91, 92, 97

Reservoir site as affecting selection

of dwelling site 51-52

Revolt of the Pueblos in 1680 23

Reynolds, H. L., work of XXIV

Rites and methods of Tusayan kiva building 118-137

Rites of house-building at Tusayan 100-104

Rito de los Frijoles, chimney of, described 173

Roof construction, pueblo buildings 120, 149

Roof-coping of Tusayan houses 102

Roof-drains, pueblo buildings 102, 153-156

Roof-openings, pueblo buildings 61, 63, 77, 98,

169, 178, 201-208

Roofs, pueblo buildings 63, 102, 119, 148-151

Roof timbers of kivas 119

Rogan, J. P., work of XIX

Rooms, arrangement of, into rows in Tusayan 49

confused arrangement of, in Walpi 63

Tâaaiyalana ruins, arrangement of 90

circular, at Kin-tiel 93

Tusayan, smaller than in Zuñi 108

names of, in Tusayan 223

Rows of houses forming Shumopavi 74

Royce, Chas. O., work of XXV

Ruins, method of survey of 45

Ruins, Tusayan 45-60

between Horn House and Bat House 51

Oraibi wash 54-56

Cibola 80

Tâaaiyalana 89

Rungs of ladders, how attached 158, 159

S.

Sacrifices of food in Tusayan house-building 101, 102

Sandals of yucca found in Canyon de Chelly 133

Sand bed used in Navajo ceremonial to absorb disease 250, 251

Sand painting, Navajo ceremonial,

learned by the Navajos from the Pueblos 236

colors used in 237

manner of laying on colors 239-248

disposition of sand after ceremony 241, 261, 264

description of 260, 261, 262, 264, 265

Sandstone used in pueblo construction,

how quarried 225

San Felipe, return of Payupki to 41

San Juan, a Tewa pueblo 37

Santa Clara doubtfully identified with Kápung 37

Santo Domingo, settlement of the Asanyumu 30

Sash of rude construction

in window openings 196

Sealing of doorways of pueblo buildings 110, 183-184, 198-201

Seats of stone in Tusayan kivas 132

Selenite used in pueblo windows 196, 197

Semisubterranean kivas of Tusayan 113

Seven cities of Cibola. See Cibola.

Sheep, introduced into Tusayan 22

possessed by the Awatubi 50

introduction of, among the Pueblos 214

mountain, Navajo myth concerning 282-284

Shitáimu pueblo 28, 48, 49

Shelters in pueblo fields 60, 198, 217-219

Shelves, pueblo buildings 109, 173, 209

Shrine, Matsaki 86

court of Shupaulovi 71

court of Shumopavi 75

Tâaaiyalana 90

Shrines, pueblo 72, 148, 167

Shumopavi, Spanish mission established at 22

by whom built 27

removal of portion of Bear people from 27

description of 73-76

kivas of 113, 114, 137

primitive andiron at 176

piki stone at 176

fireplace and chimney of 176, 177

ground cooking-pit of 178

Shumopavi-Oraibi boundary stone 28

Shumopavi people, removal of, to mesa site 23

Shupaulovi, settlement of Paroquet and Ketchina peoples in 27

when established 29

settlement of Bear people at 30

settlement of the water people at 32

description of 71-73

mungkiva of, described 113

direction of kivas of 115

description of dais of kiva of 123

ground and ceiling plans of kiva of 125

list of kivas of 136

description of chimney-hood at 171, 172

passageway at, described 181

Sichumovi, settled by peoples from Walpi 31

derivation of term 38

description of 62, 63

direction of kivas of 115

ownership of kiva of 134

list of kivas of 136

poultry-house of 167

fireplace and mantel of 173

piki stone at 175

Sikyatki, ruin of 20, 21

pueblo of 24

ancient kiva near 117

Sikyátki people dispute with the Walpi 24

slaughtered by the Walpi 25

Sills of doors 110, 186, 194

Sióki. See Zuñi 30

Sipapuh, Tusayan kivas 117, 121, 122, 123,

126, 130, 131, 135

Sites of pueblo buildings,

why selected 63, 66, 90, 97, 112, 223

Slabs of stone in pueblo architecture 147

Slavery among the Tusayan 41

Smallpox prevalent in Tusayan 38, 134

Smoke escape through roof-opening

and transoms 189, 204, 206, 207

Snake dance, relation of dance-rock to 65

Snake people, the first occupants of the Tusayan region 17

construction of modern Walpi by the 23

Snow, use of, as water supply by the Zuñi 91

Spaniards, early visit of, to Tusayan 21, 22

Spanish authority, effect of,

upon purity of Zuñi kiva type 112

Spanish beams in Tusayan kivas 119, 123, 124, 125, 126

Spanish churches at pueblos, Hawikuk 81, 82, 138

Spanish influence in Zuñi and Tusayan 169, 180, 196, 213, 224

Spanish missions established in Tusayan 22

Spider people, settlement in Tusayan of the 27

Spider woman, the, Navajo myth 284

Splash-stones described and figured 155, 156

Splayed openings in Ketchipauan church 82

Squash people, settlement in Tusayan of the 25

Stakes used in construction of stone walls 147

Stearns, J. B., relics from Chiriqui presented by XXVI

Stephen, A. M., material on traditional history

of Tusayan collected by 16-41

opinion on Walpi architectural features 72

acknowledgments to 100

on distribution of Oraibi gentes 104, 105

on orientation of Tusayan kivas 115

discovery of ancient kiva type near Sikyatki 117

typical kiva measurements by 122

on wattling or lathing of kiva walls 126

on significance of structural plan of kiva 135

collection of primitive andirons or bosses by 176

Steps and ladders described 156-162

Steps cut in faces of cliffs 191

Steps or foot-holes of Walpi trail 65

Steps to kivas 114

Stevenson, James, notice of paper on

Hasjelti Dailjis and Navajo sand painting by XXXIV-XXXVI

paper on ceremonial of Hasjelti Dailjis

and mythical sand-painting of 229-285

Sticks, painted, bundles of, used in Navajo

medicine ceremonial 252, 254

Stone, size, character, and finish of,

in pueblo ruins 55, 58, 60, 138

means of obtaining, in Zuñi 139

effect of use of, in chimney hoods 172

corrals 214

flags used to floor Tusayan kiva 121

inclosures in Southern Arizona 216

roof drains, curious forms of 154

shelters, possible remains of, at Payupki 60

slabs formerly used to close doorways 188

Stone-close anciently used 192, 193

Stone wedges used in pueblo wall finish 140, 142

Stonework, Shumopavi 75

at Oraibi 144

Mormon and Pueblos compared 148

Stone steps, Pescado 95

Tusayan 157

Stools used by the Pueblos 212, 213

Storage facilities of pueblo dwellings 57, 62, 103, 109,

143, 144, 182, 209

Straw adobe made by Spaniards 138, 224

Structural features of kivas similar 129

Subterranean character of kivas 63, 72, 112, 113

Suds of yucca used in Navajo

medicine ceremonial 251, 257, 258

Sullivan, Jeremiah, Payupki tradition obtained by 40

Sun, Navajo myth concerning creation of 275, 277

Sunflower stalks used in chimney construction 170

Sun people of Tusayan 29

Supplies, how taken to Walpi mesa 65

Survey of Tusayan and Cibola, methods of 44-45

Sweat-houses in Navajo ceremonial, description of 239

Synonymy of Indian tribes, work on XXVIII

T.

Tâaaiyalana, relation of K’iakima to 85

stone inclosures at base of 85

description of ruins of 89-91

flight of Zuñis to, during Pueblo revolt 89

mesa of, temporarily occupied 223

Tables not used in Pueblo houses 212, 214

Talla Hogan. See Awatubi 49-50

Taos formerly partly inhabited by the Tewa 37

Tceewáge. See Peña Blanca.

Tcosobi or Jay kiva, roof timbers of 120

Tebowúki, an early pueblo of the fire people of Tusayan 20

Tebugkihu or fire-house, description of 57

fragments of passage-wall at 181

Tennessee, archeologic work in XIX

Terraced doorways 190-191

Terraced gardens 217

Terraced roofs of Tusayan, names of 104

Terrace cooking-pits and fireplaces 174-177

Terrace rooms, half open, not seen in ancient pueblos 187

Terraces, Sichumovi form of 62

Oraibi, formed by natural causes 76

Zuñi 97, 98, 144

ancient pueblos, how reached 156

Tusayan names of 223

Tesuque, a Tewa pueblo 37

Tetsógi. See Tesuque.

Tewa conflict with the Ute 36

Tewa, language of the 37

Tewa. See Hano.

Texas, linguistic work in XX

Thomas, Cyrus, work of XIX, XXIII

Timbers for roof, kind used in kiva-building 19

Time for planting and harvesting, how determined in Zuñi 148

Tiponi of Tusayan explained 131

Tlaskaltec Indians, linguistic researches among XXI

Toneennili, the water-sprinkler, song addressed to,

in Navajo ceremonial 259

Topography, houses of Walpi constructed to conform to 64

of Shupaulovi 71

Tradition, historical value of 15

Tradition, Tusayan 16-41

Hano 35

regarding Hano and Tusayan languages 36

concerning Payupki pueblo 40

concerning occupancy of Old Mashongnavi 47-48

of foundation of Walpi 63

concerning circular kivas 135

Zuñi concerning stone-close 92-193

concerning early occupancy of former pueblos

by existing tribes 225

Traditionary gentes of Tusayan, list of 38

Trails, Walpi 65, 66

Tâaaiyalana 89

Transoms over pueblo doorways 187-189

Transportation to Walpi mesa, Indian method 66

Trapdoors, Sichumovi 63

kivas, no means of fastening 113

frames furnished with hand-holds 192

Tunika Indians, linguistic work among XXI

Tupubi defined 176

Túpkabi. See Canyon de Chelly.

Turner, Lucien M., work of XXVIII

Tusayan, survey of 15

traditional history of 16-41

ruins and inhabited villages of 42-79

house-building rites 100-104

houses of, owned by women 101

kivas in 111-137

list of kivas of 136

order of settlement of, by various peoples 29

Tusayan and Cibola architecture, study of,

by Victor Mindeleff 3-228

compared by constructional details 100-223

details of 137-223

Tusayan. See Hopituh.

Tuscarora-English dictionary, work on XXVIII

Tuwahlki, or watch-house 217

Tuwii. See Santo Domingo 30

Twigs, use of, in roof construction 150

U.

Ute, conflict with, by the Tewa of Hano 36

inroads of, upon Tusayan 25, 26, 35

V.

Vargas, Don Diego, visit to Tusayan of 35

Virginia, work in XXII

Vocabulary of Tusayan architectural terms 220-223

W.

Walls, how indicated on plans of ruins 45

defensive, at Bat House 52

construction of, in Moen-kopi ruins 53

curved, instances of 54

showing precision of workmanship 54

dimensions in Tâaaiyalana mesa 90

original height of, indicated by débris 90

thickness of, in modern Tusayan 102

paintings on, in Tusayan kiva 131

pueblo, mode of construction of 137-148

copings of 139, 151, 152

strength of 144

weakness of, in Zuñi 182

of gardens 215

Walpi, settlement of Bear people at 21, 27

Spanish mission established at 22

construction of, by the Snake people 23

dispute of, with the Sikyatki 24

settlement of the Asa at 30, 31

abandoned by Bear, Lizard, Asa, and Badger peoples 31

description of 63-66

court-surrounded kiva of 114

kivas of 119, 136

upper story partitions of, supported by beams 144

use of large stone blocks in garden walls of 47

cooking pit at 176, 177

south passageway of, described 181

Walpi people, attack of Awatubi by the 34

affray between the Oraibi and 35

trouble between the Hano and 37

various pueblos formerly occupied by the 46, 47

Warp-sticks, mode of supporting 133

Water, method of carrying, at Walpi 65

Water family, last to settle at Tusayan 29

migration legend of 31

Water jars used in chimney construction 180

Water supply, Cibola 80

Ketchipauan 82, 83

Tâaaiyalana dwellings 90, 91

Kin-tiel 92

Zuñi 97

Water vessels, forms of 109

Wattling or lathing of kiva walls 126

Weaving appliances 212

Wejegi pueblo, loop-holes in 198

Well or reservoir of Zuñi 97

West Virginia, archeologic work in XX

Whitewash on outer walls of Shumopavi 73-74

on Mashongnavi room 109

how made and applied in Zuñi 145

on house walls 145

used for coating doors 186

Wíksrun people, settlement in Tusayan of the 27

Willow wands used in roof construction 150

Window, doorway and chimney in one 121

Windows of various kinds described 194, 201

Wings constructed in court of Pueblo Bonito 70

Women, house owners at Tusayan 101

work of, in Tusayan house-building 101, 102

roof-building performed by 102

work of, in kiva-building 129

when admitted to kivas 134

societies of, and kivas for, in Tusayan 134

Wood, kinds of, used in Tusayan construction 102

Wood rack of pueblos described 103

Wood-working, how performed 184

Wooden doors not found in pre-Columbian ruins 184

Wooden features of pueblo windows 196

Woolen mill established by Mormons at Moen-kopi 78

Workshop, use of the kiva, as a 129, 133

Y.

Yebitchai, meaning of the term 235, 236

Yeso used for interior whitewash 74

Yucca, use of, in lathing 127

Yucca fiber sandals from Canyon de Chelly 133

Z.

Zenichi, Navajo gods 265

Zuñi, survey of pueblo of 14

arrival of the Asanyumu at 30

portion of site of, formerly occupied by Halona 88

tradition as to occupancy of Kin-tiel by the 92

plans and descriptions of villages of 94-99

description of pueblo of 97-99

See Cibola.

Errata for Index:

Defense ... features of, at Ojo Caliente

_text reads “Ojo Calient”_

Defense ... use of Ketchipauan church for

_text reads “Kelchipauan”_

Kótite

_printed between entries “Katchinkihu” and “Ketchipauan”_

Migration of the Asanyumu of Tusayan

_text reads “Asanynmu”_

Númi

_printed before entry “Notched logs”_

Parallelogramic form of Tusayan buildings

_spelling unchanged_

Stevenson, James ... Navajo sand painting

_text reads “sands painting”

Stonework ... Oraibi

_text reads “Oraib”_

Tâaaiyalana, relation of K’iakima to

_text reads “Tâaaialana”_

Tusayan, order of settlement of

_printed between entries “Terraces” and “Tesuque”_

_(note that last sub-entry under “Terraces” is “Tusayan names of”)_