e been so well
described by Dr. J. Walter Fewkes.

I cannot omit to note here for further reference that the national war
gods of the Zunis are the twin-brothers Ahaiiuta, the elder, whose altars
were situated _to the right_ or south and west of Zuni, and Matsailema,
the younger, whose altars stood _to the left_ or north and east of the
village. The secret society of the warriors and priests of the bow
dedicated their cult to these brothers, whose counterparts we have already
studied in Mexico and Yucatan.

Returning to the primitive designs which expressed the union of the Above
and Below, I point out an interesting example from the "Lyfe of the
Indians," which likewise symbolizes the four quarters, and their
subdivision and their relation to the whole (fig. 32, no. 3). A somewhat
analogous design, from Peru, presents an outline resembling a swastika
(fig. 40, no. 9) which, when filled in with alternate colors, yields fig.
40, no. 1, in which the idea of the Above and Below preponderates. Another
example of an analogous employment of a light and dark color is furnished
by a shield in the Codex Mendoza, shown in fig. 1, no. 1, alongside of an
interesting image which gives us an insight into the depths of meaning
contained in the dualistic native designs. It consists of a disk, one-half
of which represents the starry heaven and the other the sun, resting on a
parti-colored support (no. 8). It is evident that day and night are thus
symbolized, and it is reasonable to infer that in some centres of thought
especially the ideas of light and darkness should have become associated
with the two different forms of cult the followers of which would be
respectively designated as the children of light and the children of
darkness. By means of a light and a dark color numberless variations of
the one theme were indeed obtained. In the native Codices, in textile
fabrics and on pottery, there are also numerous examples of an extremely
simple design consisting of a single zigzag line running between two
parallel lines and dividing the intervening space into two fields, the
lower of which is filled out with black and the other with some light
color. The dark upright and light inverted peaks were evidently employed
as familiar and favorite emblems of earth and heaven.

[Illustration.]

Figure 45.

I am inclined to see in the serrated summit of the remarkable edifice,
kno