At any rate, it was a queer little show, quite like that of our old friend Punch. There was a painted screen of several panels, and in the centre ones were two dolls, fashioned to represent Hopi maidens. Before each was the corn-grinding metate. And farther extended on the floor before them and their stone tubs was a miniature cornfield—the sand, and the furrows, and the hills of tiny plants. Hardly had the first sigh of pleased surprise from the children died away, when, even to my astonishment, the dolls became animated, and with odd life-like motions began to grind corn, just as the women grind daily in the houses of the villages, crushing the hard grain between the stone surfaces of the metate and the mano. These mannequins worked industriously, and with movements not at all mechanical. Then a little bird fluttered along the top of the screen, piping and whistling. Shrills of delight from the youngsters, to be followed by audible gasps, for from a side panel came twisting a long snake, to dart among the corn hills of the scenic field, and then to retreat backward through the hole from which it had appeared. These actions followed each other in quick succession. The fellow behind the screen was quite skillful in working his marionettes for the delight of those children of the tribe. Perhaps in all this there was some deep-laid symbolism, checking rigidly with the North Star and the corn harvests of the past and future. Perhaps it was a primitive object-lesson, to encourage thrift and industry as a bulwark against famine. But if you ask me, I saw in it exactly a repetition of the district schoolhouse or the country chapel at holiday time, when Cousin Elmer obliges with a droll exhibition of whiskers and sleighbells and cotton snowflakes. Sometimes the Hopi at these festivals for children give them presents too, and a handful of piki-bread bestowed by a clown, however bizarre his facial appearance, has all the gift-wonder of our childhood Santa Claus and his treasure-pack.