odies, two of which have highly complicated
extremities recalling conventionalized birds.

[Illustration: BUREAU Of AMERICAN ETHNOLOGY

SEVENTEENTH ANNUAL REPORT PL. CLVII

FIGURES OF BIRDS AND FEATHERS FROM SIKYATKI]

[Illustration: BUREAU OF AMERICAN ETHNOLOGY

SEVENTEENTH ANNUAL REPORT PL. CLVIII

FOOD BOWLS WITH FIGURES OF SUN AND RELATED SYMBOLS FROM SIKYATKI]

A large number of crosses are represented in plate CLXII, _d_, in
which the remaining semicircle is filled with a tessellated pattern. A
spiral line with round spots at intervals adorns the specimen
shown in plate CLXI, _a_. Parallel lines with similar spots appear on
the vessel illustrated in plate CLXII, _e_, and a network of the same
is shown in _f_ of the same plate. Plate CLXVII, _b_, represents a
compound star.

While simple swasticas are not found on any of the Sikyatki pottery,
modified and compound forms are well represented. There are several
specimens of figures of the Maltese cross, and one closely
approximating the Saint Andrew's cross. It is scarcely necessary to
say that the presence of the various kinds of crosses do not
necessarily indicate the influence of Semitic or Aryan races, for I
have already shown[151] that even cross-shape prayer-sticks were in
use among the Pueblos when Coronado first visited them.

TERRACED FIGURES

Among the most common of all geometric designs on ancient Tusayan
pottery none excel in variety or number those which I place in the
above group. They form the major part of all decoration, and there is
hardly a score of ornamented vessels in which they can not be
detected. In a typical form they appear as stepped designs,
rectangular figures with diagonals continuous, or as triangular
designs with steps represented along their sides.

While it is probable that in some instances these figures are simply
decorative, with no attempt at symbolism, in other cases without doubt
they symbolize rain-clouds, and the same figures are still used with
similar intent in modern ceremonial paraphernalia--altars,
mask-tablets, and the like. Decorative modifications of this figure
were no doubt adopted by artistic potters, thus giving varieties where
the essential meaning has been much obscured or lost.

THE CROOK

Among the forms of geometric designs on ancient Tusayan pottery there
are many jars, bowls, and other objects on which a crook, variously
modified, is the essential type. This figure is so constant that