[120]These priests wear a close-fitting skullcap, with two long, banded horns made of leather, to the end of which corn husks are tied. For an extended description seeJournal of American Ethnology and Archæology, vol.ii, No. 1, page 11.
[120]These priests wear a close-fitting skullcap, with two long, banded horns made of leather, to the end of which corn husks are tied. For an extended description seeJournal of American Ethnology and Archæology, vol.ii, No. 1, page 11.
[121]The rarity of human figures on such kinds of pottery as are found in the oldest ruins would appear to indicate that decorations of this kind were a late development. No specimen of black-and-white ware on which pictures of human beings are present has yet been figured. The sequence of evolution in designs is believed to be (1) geometrical figures, (2) birds, (3) other animals, (4) human beings.
[121]The rarity of human figures on such kinds of pottery as are found in the oldest ruins would appear to indicate that decorations of this kind were a late development. No specimen of black-and-white ware on which pictures of human beings are present has yet been figured. The sequence of evolution in designs is believed to be (1) geometrical figures, (2) birds, (3) other animals, (4) human beings.
[122]In some of the figurines used in connection with modern Hopi altars these whorls are represented by small wheels made of sticks radiating from a common juncture and connected by woolen yarn.
[122]In some of the figurines used in connection with modern Hopi altars these whorls are represented by small wheels made of sticks radiating from a common juncture and connected by woolen yarn.
[123]The natives of Cibola, according to Castañeda, "gather their hair over the two ears, making a frame which looks like an old-fashioned headdress." The Tusayan Pueblo maidens are the only Indians who now dress their hair in this way, although the custom is still kept up by men in certain sacred dances at Zuñi. The country women in Salamanca, Spain, do their hair up in two flat coils, one on each side of the forehead, a custom which Castañeda may have had in mind when he compared the Pueblo coiffure to an "old-fashioned headdress."
[123]The natives of Cibola, according to Castañeda, "gather their hair over the two ears, making a frame which looks like an old-fashioned headdress." The Tusayan Pueblo maidens are the only Indians who now dress their hair in this way, although the custom is still kept up by men in certain sacred dances at Zuñi. The country women in Salamanca, Spain, do their hair up in two flat coils, one on each side of the forehead, a custom which Castañeda may have had in mind when he compared the Pueblo coiffure to an "old-fashioned headdress."
[124]American Anthropologist, April, 1892.
[124]American Anthropologist, April, 1892.
[125]Troano and Cortesiano codices.
[125]Troano and Cortesiano codices.
[126]Anakwákwociis an individual prayer-string, and consists of one or more prescribed feathers tied to a cotton string. These prayer emblems are made in great numbers in every Tusayan ceremony.
[126]Anakwákwociis an individual prayer-string, and consists of one or more prescribed feathers tied to a cotton string. These prayer emblems are made in great numbers in every Tusayan ceremony.
[127]The evidence afforded by this bowl would seem to show that the cult of the Corn-maid was a part of the mythology and ritual of Sikyatki. The elaborate figures of the rain-cloud, which are so prominent in representations of the Corn-maid on modern plaques, bowls, and dolls, are not found in the Sikyatki picture.
[127]The evidence afforded by this bowl would seem to show that the cult of the Corn-maid was a part of the mythology and ritual of Sikyatki. The elaborate figures of the rain-cloud, which are so prominent in representations of the Corn-maid on modern plaques, bowls, and dolls, are not found in the Sikyatki picture.
[128]The reason for my belief that this is a breath feather will be shown under the discussion of feather and bird pictures.
[128]The reason for my belief that this is a breath feather will be shown under the discussion of feather and bird pictures.
[129]For the outline of this legend seeJournal of American Ethnology and Archæology, vol.iv. The maid is there called the Tcüa-mana or Snake-maid, a sacerdotal society name for the Germ goddess. The same personage is alluded to under many different names, depending on the society, but they are all believed to refer to the same mythic concept.
[129]For the outline of this legend seeJournal of American Ethnology and Archæology, vol.iv. The maid is there called the Tcüa-mana or Snake-maid, a sacerdotal society name for the Germ goddess. The same personage is alluded to under many different names, depending on the society, but they are all believed to refer to the same mythic concept.
[130]The attitude of the male and female here depicted was not regarded as obscene; on the contrary, to the ancient Sikyatki mind the picture had a deep religious meaning. In Hopi ideas the male is a symbol of active generative power, the female of passive reproduction, and representations of these two form essential elements of the ancient pictorial and graven art of that people.
[130]The attitude of the male and female here depicted was not regarded as obscene; on the contrary, to the ancient Sikyatki mind the picture had a deep religious meaning. In Hopi ideas the male is a symbol of active generative power, the female of passive reproduction, and representations of these two form essential elements of the ancient pictorial and graven art of that people.
[131]The doll of Kokopeli has along, bird-like beak, generally a rosette on the side of the head, a hump on the back, and an enormous penis. It is a phallic deity, and appears in certain ceremonials which need not here be described. During the excavations at Sikyatki one of the Indians called my attention to a large Dipteran insect which he called "Kokopeli."
[131]The doll of Kokopeli has along, bird-like beak, generally a rosette on the side of the head, a hump on the back, and an enormous penis. It is a phallic deity, and appears in certain ceremonials which need not here be described. During the excavations at Sikyatki one of the Indians called my attention to a large Dipteran insect which he called "Kokopeli."
[132]The practice still exists at Zuñi, I am told, and there is no sign of its becoming extinct. It is said that old Naiutci, the chief of the Priesthood of the Bow, was permanently injured during one of these performances. (Since the above lines were written I have excavated from one of the ruins on the Little Colorado a specimen of one of these objects used by ancient stick-swallowers. It is made of bone, and its use was explained to me by a reliable informant familiar with the practices of Oraibi and other villagers. It is my intention to figure and describe this ancient object in the account of the explorations of 1896.)
[132]The practice still exists at Zuñi, I am told, and there is no sign of its becoming extinct. It is said that old Naiutci, the chief of the Priesthood of the Bow, was permanently injured during one of these performances. (Since the above lines were written I have excavated from one of the ruins on the Little Colorado a specimen of one of these objects used by ancient stick-swallowers. It is made of bone, and its use was explained to me by a reliable informant familiar with the practices of Oraibi and other villagers. It is my intention to figure and describe this ancient object in the account of the explorations of 1896.)
[133]"Tusayan Katcinas," Fifteenth Annual Report of the Bureau of Ethnology, 1893-94, Washington, 1897. Hewüqti is also called Soyokmana, a Keresan-Hopi name meaning the Natacka-maid. The Keresan (Sia) Skoyo are cannibal giants, according to Mrs Stevenson, an admirable definition of the Hopi Natackas.
[133]"Tusayan Katcinas," Fifteenth Annual Report of the Bureau of Ethnology, 1893-94, Washington, 1897. Hewüqti is also called Soyokmana, a Keresan-Hopi name meaning the Natacka-maid. The Keresan (Sia) Skoyo are cannibal giants, according to Mrs Stevenson, an admirable definition of the Hopi Natackas.
[134]The celebration occurs in the modern Tusayan pueblos in thePowamûwhere the representative of Calako flogs the children. Calako's picture is found on thePowamûaltars of several of the villages of the Hopi.
[134]The celebration occurs in the modern Tusayan pueblos in thePowamûwhere the representative of Calako flogs the children. Calako's picture is found on thePowamûaltars of several of the villages of the Hopi.
[135]Figures of the human hand have been found on the walls of cliff houses. These were apparently made in somewhat the same way as that on the above bowl, the hand being placed on the surface and pigment spattered about it. See "The Cliff Ruins of Canyon de Chelly," by Cosmos Mindeleff; Sixteenth Annual Report, 1894-95.
[135]Figures of the human hand have been found on the walls of cliff houses. These were apparently made in somewhat the same way as that on the above bowl, the hand being placed on the surface and pigment spattered about it. See "The Cliff Ruins of Canyon de Chelly," by Cosmos Mindeleff; Sixteenth Annual Report, 1894-95.
[136]Muryi, mole or gopher; muriyawû, moon. There maybe some Hopi legend connecting the gopher with the moon, but thus far it has eluded my studies, and I can at present do no more than call attention to what appears to be an interesting etymological coincidence.
[136]Muryi, mole or gopher; muriyawû, moon. There maybe some Hopi legend connecting the gopher with the moon, but thus far it has eluded my studies, and I can at present do no more than call attention to what appears to be an interesting etymological coincidence.
[137]This form of mouth I have found in pictures of quadrupeds, birds, and insects, and is believed to be conventionalized. Of a somewhat similar structure are the mouths of theNatackamonsters which appear in the WalpiPowamûceremony. See the memoir on "Tusayan Katcinas," in the Fifteenth Annual Report.
[137]This form of mouth I have found in pictures of quadrupeds, birds, and insects, and is believed to be conventionalized. Of a somewhat similar structure are the mouths of theNatackamonsters which appear in the WalpiPowamûceremony. See the memoir on "Tusayan Katcinas," in the Fifteenth Annual Report.
[138]Figures of the tadpole and frog are often found on modern medicine bowls in Tusayan. The snake, so common on Zuñi ceremonial pottery, has not been seen by me on a single object of earthenware in use in modern Hopi ritual.
[138]Figures of the tadpole and frog are often found on modern medicine bowls in Tusayan. The snake, so common on Zuñi ceremonial pottery, has not been seen by me on a single object of earthenware in use in modern Hopi ritual.
[139]Journal of American Ethnology and Archæology, vol.iv.
[139]Journal of American Ethnology and Archæology, vol.iv.
[140]Although made of beautiful yellow ware, it shows at one point marks of having been overheated in firing, as is often the case with larger vases and jars.
[140]Although made of beautiful yellow ware, it shows at one point marks of having been overheated in firing, as is often the case with larger vases and jars.
[141]One of the best examples of the rectangular or ancient type of medicine bowl is used in the celebration of the Snake dance at Oraibi, where it stands on the rear margin of the altar of the Antelope priesthood of that pueblo.
[141]One of the best examples of the rectangular or ancient type of medicine bowl is used in the celebration of the Snake dance at Oraibi, where it stands on the rear margin of the altar of the Antelope priesthood of that pueblo.
[142]One of the best of these is that of the Humis-katcina, but good examples occur on the dolls of the Calakomanas. The Lakone maid, however, wears a coronet of circular rain-cloud symbols, which corresponds with traditions which recount that this form was introduced by the southern clans or the Patki people.
[142]One of the best of these is that of the Humis-katcina, but good examples occur on the dolls of the Calakomanas. The Lakone maid, however, wears a coronet of circular rain-cloud symbols, which corresponds with traditions which recount that this form was introduced by the southern clans or the Patki people.
[143]In the evolution of ornament among the Hopi, as among most primitive peoples where new designs have replaced the old, the meaning of the ancient symbols has been lost. Consequently we are forced to adopt comparative methods to decipher them. If, for instance, on a fragment of ancient pottery we find the figure of a bird in which the wing or tail feathers have a certain characteristic symbol form, we are justified, when we find the same symbolic design on another fragment where the rest of the bird is wanting, in considering the figure that of a wing or tail feather. So when the prescribed figure of the feather has been replaced by another form it is not surprising to find it incomprehensible to modern shamans. The comparative ethnologist may in this way learn the meanings of symbols to which the modern Hopi priest can furnish no clue.
[143]In the evolution of ornament among the Hopi, as among most primitive peoples where new designs have replaced the old, the meaning of the ancient symbols has been lost. Consequently we are forced to adopt comparative methods to decipher them. If, for instance, on a fragment of ancient pottery we find the figure of a bird in which the wing or tail feathers have a certain characteristic symbol form, we are justified, when we find the same symbolic design on another fragment where the rest of the bird is wanting, in considering the figure that of a wing or tail feather. So when the prescribed figure of the feather has been replaced by another form it is not surprising to find it incomprehensible to modern shamans. The comparative ethnologist may in this way learn the meanings of symbols to which the modern Hopi priest can furnish no clue.
[144]In an examination of many figures of ancient vessels where this peculiar design occurs it will be found that in all instances they represent feathers, although the remainder of the bird is not to be found. The same may also be said of the design which represents the tail-feathers. This way of representing feathers is not without modern survival, for it may still be seen in many dolls of mystic personages who are reputed to have worn feathered garments.
[144]In an examination of many figures of ancient vessels where this peculiar design occurs it will be found that in all instances they represent feathers, although the remainder of the bird is not to be found. The same may also be said of the design which represents the tail-feathers. This way of representing feathers is not without modern survival, for it may still be seen in many dolls of mystic personages who are reputed to have worn feathered garments.
[145]At the present time the circle is the totemic signature of the Earth people, representing the horizon, but it has likewise various other meanings. With certain appendages it is the disk of the sun—and there are ceremonial paraphernalia, as annulets, placed on sand pictures or tied to helmets, which may be represented by a simple ring. The meaning of these circles in the bowl referred to above is not clear to me, nor is my series of pictographs sufficiently extensive to enable a discovery of its significance by comparative methods. A ring of meal sometimes drawn on the floor of a kiva is called a "house," and a little imagination would easily identify these with the mythic houses of the sky-bird, but this interpretation is at present only fanciful.
[145]At the present time the circle is the totemic signature of the Earth people, representing the horizon, but it has likewise various other meanings. With certain appendages it is the disk of the sun—and there are ceremonial paraphernalia, as annulets, placed on sand pictures or tied to helmets, which may be represented by a simple ring. The meaning of these circles in the bowl referred to above is not clear to me, nor is my series of pictographs sufficiently extensive to enable a discovery of its significance by comparative methods. A ring of meal sometimes drawn on the floor of a kiva is called a "house," and a little imagination would easily identify these with the mythic houses of the sky-bird, but this interpretation is at present only fanciful.
[146]Thepahois probably a substitution of a sacrifice of corn or meal given as homage to the god addressed.
[146]Thepahois probably a substitution of a sacrifice of corn or meal given as homage to the god addressed.
[147]Journal of American Ethnology and Archæology, vol.iv. These water gourds figure conspicuously in many ceremonies of the Tusayan ritual. The two girls personating the Corn-maids carry them in the Flute observance, and each of the Antelope priests at Oraibi bears one of these in the Antelope or Corn dance.
[147]Journal of American Ethnology and Archæology, vol.iv. These water gourds figure conspicuously in many ceremonies of the Tusayan ritual. The two girls personating the Corn-maids carry them in the Flute observance, and each of the Antelope priests at Oraibi bears one of these in the Antelope or Corn dance.
[148]"A few Tusayan Pictographs;"American Anthropologist, Washington, January, 1892.
[148]"A few Tusayan Pictographs;"American Anthropologist, Washington, January, 1892.
[149]A beautiful example of this kind was found at Homolobi in the summer of 1896.
[149]A beautiful example of this kind was found at Homolobi in the summer of 1896.
[150]In this connection the reader is referred to the story, already told in former pages of this memoir, concerning the flogging of the youth by the husband of the two women who brought the Hopi the seeds of corn. It may be mentioned as corroboratory evidence that Calako-taka represents a supernatural sun-bird, that the Tataukyamû priests carry a shield with Tunwup (Calako-taka) upon it in the Soyaluña. These priests, as shown by the etymology of their name, are associated with the sun. In the Sun drama, or Calako ceremony, in July, Calako-takas are personated, and at Zuñi the Shalako is a great winter sun ceremony.
[150]In this connection the reader is referred to the story, already told in former pages of this memoir, concerning the flogging of the youth by the husband of the two women who brought the Hopi the seeds of corn. It may be mentioned as corroboratory evidence that Calako-taka represents a supernatural sun-bird, that the Tataukyamû priests carry a shield with Tunwup (Calako-taka) upon it in the Soyaluña. These priests, as shown by the etymology of their name, are associated with the sun. In the Sun drama, or Calako ceremony, in July, Calako-takas are personated, and at Zuñi the Shalako is a great winter sun ceremony.
[151]American Anthropologist, April, 1895, p. 133. As these cross-shape pahos which are now made in Tusayan are attributed to the Kawaika or Keres group of Indians, and as they were seen at the Keresan pueblo of Acoma in 1540, it is probable that they are derivative among the Hopi; but simple cross decorations on ancient pottery were probably autochthonous.
[151]American Anthropologist, April, 1895, p. 133. As these cross-shape pahos which are now made in Tusayan are attributed to the Kawaika or Keres group of Indians, and as they were seen at the Keresan pueblo of Acoma in 1540, it is probable that they are derivative among the Hopi; but simple cross decorations on ancient pottery were probably autochthonous.
[152]In dolls of the Corn-maids this germinative symbol is often found made of wood and mounted on an elaborate tablet representing rain-clouds.
[152]In dolls of the Corn-maids this germinative symbol is often found made of wood and mounted on an elaborate tablet representing rain-clouds.
[153]Many similarities might be mentioned between the terraced figures used in decoration in Old Mexico and in ancient Tusayan pottery, but I will refer to but a single instance, that of the stuccoed walls of Mitla, Oaxaca, and Teotitlan del Valle. Many designs from these ruins are gathered together for comparative purposes by that eminent Mexicanist, Dr E. Seler, in his beautiful memoir on Mitla (Wandmalereien von Mitla, platex). In this plate exact counterparts of many geometric patterns on Sikyatki pottery appear, and even the broken spiral is beautifully represented. There are key patterns and terraced figures in stucco on monuments of Central America identical with the figures on pottery from Sikyatki.
[153]Many similarities might be mentioned between the terraced figures used in decoration in Old Mexico and in ancient Tusayan pottery, but I will refer to but a single instance, that of the stuccoed walls of Mitla, Oaxaca, and Teotitlan del Valle. Many designs from these ruins are gathered together for comparative purposes by that eminent Mexicanist, Dr E. Seler, in his beautiful memoir on Mitla (Wandmalereien von Mitla, platex). In this plate exact counterparts of many geometric patterns on Sikyatki pottery appear, and even the broken spiral is beautifully represented. There are key patterns and terraced figures in stucco on monuments of Central America identical with the figures on pottery from Sikyatki.
[154]This pillar, so conspicuous in all photographs of Walpi, is commonly called the Snake rock.
[154]This pillar, so conspicuous in all photographs of Walpi, is commonly called the Snake rock.
[155]American Anthropologist, April, 1892.
[155]American Anthropologist, April, 1892.
[156]I failed to find out how the Hopi regard fossils.
[156]I failed to find out how the Hopi regard fossils.
[157]These objects were eagerly sought by the Hopi women who visited the camps at Awatobi and Sikyatki.
[157]These objects were eagerly sought by the Hopi women who visited the camps at Awatobi and Sikyatki.
[158]The tubular form of pipe was almost universal in the pueblo area, and I have deposited in the National Museum pipes of this kind from several ruins in the Rio Grande valley.
[158]The tubular form of pipe was almost universal in the pueblo area, and I have deposited in the National Museum pipes of this kind from several ruins in the Rio Grande valley.
[159]Journal of American Ethnology and Archæology, vol.iv, pp. 31, 32, 33.
[159]Journal of American Ethnology and Archæology, vol.iv, pp. 31, 32, 33.
[160]This form of pipe occurs over the whole pueblo area.
[160]This form of pipe occurs over the whole pueblo area.
[161]Ancient cigarette reeds, found in sacrificial caves, have a small fragment of woven fabric tied about them.
[161]Ancient cigarette reeds, found in sacrificial caves, have a small fragment of woven fabric tied about them.
[162]The so-called "implements of wood" figured by Nordenskiöld ("The Cliff Dwellers of the Mesa Verde," platexlii) are identical with some of the pahos from Sikyatki, and are undoubtedly prayer-sticks.
[162]The so-called "implements of wood" figured by Nordenskiöld ("The Cliff Dwellers of the Mesa Verde," platexlii) are identical with some of the pahos from Sikyatki, and are undoubtedly prayer-sticks.
[163]Primitive Culture, vol. ii, p. 396.
[163]Primitive Culture, vol. ii, p. 396.
[164]Journal of American Ethnology and Archæology, Vol.ii, p. 131.
[164]Journal of American Ethnology and Archæology, Vol.ii, p. 131.
[165]American Anthropologist, July, 1892.
[165]American Anthropologist, July, 1892.
[166]As stated in former pages, there is some paleographic evidence looking in that direction.
[166]As stated in former pages, there is some paleographic evidence looking in that direction.
[167]Journal of American Folk-Lore, vol.v, no. xviii, p. 213.
[167]Journal of American Folk-Lore, vol.v, no. xviii, p. 213.
[168]Op. cit., p. 214.
[168]Op. cit., p. 214.
[169]They failed to germinate.
[169]They failed to germinate.
The following list introduces the numbers by which the specimens illustrated in this memoir are designated in the catalog of the United States National Museum. Each specimen is also marked with a field catalog number, the locality in which it was found, and the name of the collector:
Platecxi.a, 155895;b, 155897;c, 155898;d, 155896;e, 155900;f, 155916.cxii.a, 155875;b, 155996;c, 155902;d, 155996;e, 155997.cxiii.a, 155992;b, 155913;c, 155991;d, 155994;e, 155993.cxiv.a-g, 156018;h, 156131;i, 156091;j, 156018.cxix.a, 155806;b, 155841;c, 155832;d, 155678;e, 155820;f, 155838.cxx.a, 155867;b, 155866;c, 155871;d, 155856;e, 155861;f, 155460.cxxi.a, 155694;b, 155698;c, 155719.cxxii.a, 155702;b, 155684;c, 155688.cxxiii.a, 155711;b, 155703;c, 155707;d, 155673.cxxiv.a, 155674;b, 155683.cxxv.a, 155750;b, 155753;c, 155751;d, 155752;e, 155749;f, 155747.cxxvi.a, 155700;b, 155682.cxxvii.a, 155718;b, 155714;c, 155723;d, 155691.cxxviii.a, 155745;b, 155744;c, 155746;d, 155735;e, 155734;f, 155733;g, 155736.cxxix.a, 155467;b, 155462;c, 155463;d, 155464;e, 155466;f, 155465.cxxx.a, 155474;b, 155475;c, 155477;d, 155484;e, 155473;f, 155476.cxxxi.a, 155758;b, 155773;c, 155768;d, 155771;e, 155546;f155764.cxxxii.a, 155482;b, 155483;c, 155481;d, 155480;e, 155479;f, 155485.cxxxiii.a, 155614;b, 155757;c, 155502;d, 155772;e, 155758;f, 155781.cxxxiv.a, 155570;b, 155597;c, 155567;d, 155507;e, 155575;f, 155505.cxxxv.a, 155692;b, 155681.cxxxvi.a, 155687;b, 155737;c, 155695.cxxxvii.a, 155488;b, 155450;c, 155468;d, 155732;e, 155776;f, 155740.cxxxviii.a, 155498;b, 155490;c, 155492;d, 155500;e, 155499;f, 155494.cxxxix.a, 155524;b, 155528;c, 155491;d, 155523;e, 155527;f, 155522.cxl.a, 155529;b, 155489;c, 155540;d, 155541;e, 155606;f, 155410.cxli.a, 155501;b, 155503;c, 155509;d, 155511;e, 155510;f, 155512.cxlii.a, 155712;b, 155693;c, 155756;d, 155636;e, 155697.cxliii.a,b, 155690.cxliv.a,b, 155689.cxlv.a, 155717;b, 155696.cxlvi.a, 155538;b, 155508;c, 155802;d, 155537;e, 155487;f, 155653.cxlvii.a, 155493;b, 155497;c, 155602;d, 155504;e, 155608;f, 155495.cxlviii.a, 155556;b, 155408;c, 155545;d, 155548;e, 155544;f, 155542.cxlix.a, 155554;b, 155549;c, 155573;d, 155607;e, 155572;f, 155581.cl.a, 155565;b, 155519;c, 155518;d, 155569;e, 155551;f, 155574.cli.a, 155535;b, 155532;c, 155539;d, 155526;e, 155613;f, 155615.clii.a, 155555;b, 155547;c, 155571;d, 155553;e, 155536;f, 155521.cliii.a, 155558;b, 155564.cliv.a, 155560;b, 155568.clv.a, 155543;b, 155557.clvi.a, 155562;b, 155561;c, 155562;d, 155796;e, 155601;f, 155588.clvii.a, 155531;b, 155530;c, 155525;d, 155585;e, 155563;f, 155552.clviii.a, 155628;b, 155742;c, 155632;d, 155633;e, 155587;f, 155634.clix.a, 155583;b, 155598;c, 155516;d, 155629;e, 155590;f, 155520.clx.a, 155577;b, 155576;c, 155622;d, 155594;e, 155647;f, 155654.clxi.a, 155642;b, 155506;c, 155517;d, 155472;e, 155589;f, 155600.clxii.a, 155637;b, 155618;c, 155643;d, 155621;e, 155534;f, 155533.clxiii.a, 155611;b, 155612.clxiv.a, 155610;b, 155609.clxv.a, 155593;b, 155592.clxvi.a, 155641;b, 155616;c, 155617;d, 155619;e, 155584;f, 155640.clxvii.a, 155877;b, 155878;c, 155892;d, 155882;e, 155890;f, 155881.clxviii.a, 155876;b, 155891;c, 155884;d, 155914;e, 155940;f, 155880.clxix.a, 156095;b, 156098;c, 156175;d, 156174;e, 156154;f, 156065.clxx.a,b, 156227.clxxi.a, 156270;b,c, 156303;e, 156199;f, 156043.clxxii.a, 156042;b, 156169;c, 156169;d, 156170;e, 156184;f, 156164.clxxiii.a, 155999;b, 155154;c, 156128;d, 156131;e,f, 1561?0;g, 156010;h-l, 156130.clxxiv.a, 156191;b,c, 156183;d, 156185;e-g, 156183;h-j, 156194;k, 156180;l,m, 156191;n, 156182.clxxv.o, 156188;p, 156185;q, 156191;r, 156186;s, 156180;t, 156188;u, 156181;v, 156179;w, 156187.