An evidence that this was virtually the history of the change from the round kiva building to the square kiva building, and that this change was wrought thus gradually as though by long-continued intercourse, is found in the fact that to this day all the ceremonials performed in the great square kivas of Zuñi would be more appropriate in round structures. For example, processions of the performers in the midwinter night ceremonials in these kivas, on descending the ladders, proceed to their places around the sides of the kivas in circles, as though following a circular wall. The ceremonials of concerted invocation in the cult societies when they meet in these kivas are also performed in circles, and the singers for dances or other dramaturgic performances, although arranged in one end or in the corner of the kiva, continue to form themselves in perfect circles; the drum in the middle, the singers sitting around and facing it as though gathered within a smaller circular room inclosed in the square room. Thus it may be inferred, first, from the fact that in the structural details of the scuttles or hatchways by which these modern kivas are entered the cross-logged structure of the inner roof of the earliest cliff kivas survive, and from the additional fact above stated that the ceremonials of these kivas are circular in form, that the square kiva is a lineal descendant of the round one; and second, that even after the round kiva was inclosed in the square room, so to say, in order that its roof might be made as were the roofs of the women's houses, or continuous therewith, it long retained the round kiva within, and hence the ceremonials necessarily performed circularly within this round inner structure became so associated with the outer structure as well, that after the abandonment entirely, through the influences I have above suggested, of these round inner structures, they continued thus to be performed.