The main subjects chosen by the native women for the decoration of their pottery are symbolic, and the most abundant objects which bear these decorations are food bowls and water vases. Many mythic concepts are depicted, among which may be mentioned the Plumed Snake, various birds, reptiles, frogs, tadpoles, and insects. Plants or leaves are seldom employed as decorative motives, but the flower is sometimes used. The feather was perhaps the most common object utilized, and it may likewise be said the most highly conventionalized. An examination of the decorations of modern food basins used in the villages of East Mesa shows that the mythologic personages most commonly chosen for the ornamentation of their interiors are the Corn or Germ goddesses.[117] These assume a number of forms, yet all are reducible to one type, although known by very different names, as Hewüqti, "Old Woman," Kokle, and the like. Figures of reptiles, birds, the antelope, and like animals do not occur on any of the food bowls from the large collection of modern Tusayan pottery which I have studied, and as these figures are well represented in the decorations on Sikyatki food bowls, we may suppose their use has been abandoned or replaced by figures of the Corn-maids.[118] This fact, like so many others drawn from a study of the Tusayan ritual, indicates that the cult of the Corn-maids is more vigorous today than it was when Sikyatki was in its prime. Many pictures of masks on modern Tusayan bowls are identified as _Tacab_ or Navaho _katcinas_.[119] Their symbolism is well characterized by chevrons on the cheeks or curved markings for eyes. None of these figures, however, have yet been found on ancient Tusayan ceramics. Taken in connection with facts adduced by Hodge indicative of a recent advent of this vigorous Athapascan tribe into Tusayan, it would seem that the use of the _Tacab katcina_ pictures was of recent date, and is therefore not to be expected on the prehistoric pottery of the age of that found in Sikyatki. In the decoration of ancient pottery I find no trace of figures of the clown-priests, or _tcukuwympkiya_, who are so prominent in modern Tusayan _katcina_ celebrations. These personages, especially the Tatcukti, often called by a corruption of the Zuñi name Kóyimse (Kóyomäshi), are very common on modern bowls, especially at the extremities of ladles or smaller objects of pottery. Many handles of ladles made at Hano in late times are modeled in the form of the Paiakyamu,[120] a glutton priesthood peculiar to that Tanoan pueblo. From the data at hand we may legitimately conclude that the conception of the clown-priest is modern in Tusayan, so far as the ornamentation of pottery is concerned. The large collections of so-called modern Hopi pottery in our museums is modified Tanoan ware, made in Tusayan. Most of the component specimens were made by Hano potters, who painted upon them figures of _katcinas_, a cult which they and their kindred introduced.