One of the first tendencies of man in visiting a ruin is to inscribe his name on its walls or on neighboring cliffs. This is shared by both Indians and whites, and the former generally makes his totem on the rock surface, or adds that of his gods, the sun, rain-cloud, or katcinas. Inscriptions recording events are less common, as they are more difficult to indicate with exactitude in this system of pictography. The majority of ancient pictographs in the Red-rock country, like those I have considered in other parts of Verde valley, are identical with picture writings now made in Tusayan, and are recognized and interpreted without hesitation by the Hopi Indians. In their legends, in which the migrations of their ancestors are recounted, the traditionists often mention the fact that their ancestors left their totem signatures at certain points in their wanderings. The Patki people say that you will find on the rocks of Palatkwabi, the "Red Land of the South" from which they came, totems of the rain-cloud, sun, crane, parrot, etc. If we find these markings in the direction which they are thus definitely declared to exist, and the Hopi say similar pictures were made by their ancestors, there seems no reason to question such circumstantial evidence that some of the Hopi clans once came from this region.[28] One of the most interesting of the pictographs pecked in the rock is a figure which, variously modified, is a common decoration on cliff-dweller pottery from the Verde valley region to the ruins of the San Juan and its tributaries. This figure has the form of two concentric spirals, the ends of which do not join. As this design assumes many modifications, it may be well to consider a few forms which it assumes on the pottery of the cliff people and on that of their descendants, the Pueblos. The so-called black-and-white ware, or white pottery decorated with black lines, which is so characteristic of the ceramics of the cliff-dwellers, is sometimes, as we shall see, found in ruins like Awatobi and Sikyatki; but it is so rare, as compared with other varieties, that it may be regarded as intrusive. One of the simplest forms of the broken-line motive is a Greek fret, in which there is a break in the component square figures or where the line is noncontinuous. In the simplest form, which appears prominently on modern pottery, but which is rare or wanting on true black-and-white ware, we have two crescentic figures, the concavities of which face in different directions, but the horns overlap. This is a symbol which the participants in the dance called the Húmiskatcina still paint with pigments on their breasts, and which is used on shields and various religious paraphernalia.