After the great cult festivals, which are celebrated with mask-dances, the masks are carefully preserved. In the mask there is supposed to reside the demon who is represented by it, and the fear of the demon is transferred to the mask. The dancing of this period consists primarily of the animal dance, which is a rhythmic imitation, often wonderfully skilful, of the movements of an animal. The mask also, therefore, always represents, in a more or less altered or grotesquely exaggerated form, an animal's head, or a being intermediate between animal and man, thus vividly calling to mind certain totemic legends whose heroes are sometimes animals and sometimes human beings. On the more advanced stages of totemic culture, there are also masks representing objects of external nature. Mention has already been made of the cloud masks used in the vegetation festivals of the Hopi and Zuni. The rain-priests of these tribes, with these masks on their heads and with pictures of zigzag lightning on their garments, are the living representatives of storm demons. Thus, the mask imparts to its wearer the character of the demon represented by it. The characteristics of face-masks, such as enormous beards and teeth, huge eyes, noses, etc., cause them, particularly, to be the living embodiments of the fear of demons, and thus to be themselves regarded as demoniacal beings. Whatever may be their more specific nature, whether, for example, they represent demons of sickness or of fertility, they always present the same fear-inspiring features. A certain diversity of expression is much more likely to come as a result of the external character of the dance in which the masks are used. This may give rise to expressions portraying surprise and astonishment, or the more lively emotions of fear, terror, or exalted joy. In the latter case, we must bear in mind that representations of grinning laughter differ in but a few characteristic marks from those of violent weeping.