At the close of this part of the performance the songs ceased and the Bird-man took a seat before the altar, while a priest at his right lit a conical pipe and blew through it, on the body of the Bird-man, clouds of tobacco smoke. This smoke was not taken into the mouth, but the smoker placed the larger end between his lips, and blew through the tube, causing the smoke to issue from a small hole at the pointed end.[9] After prayers by one or more of the priests, the Bird-man again danced before the altar, at the same time imitating the movements of wings with his arms and bird-calls with a whistle in his mouth. He then left the room and the calls could be heard as he went outside. This proceeding is interpreted as a symbolic dramatization or representation of the fertilization of the earth, and is an example of highly complicated sympathetic magic by which nature powers of sky and earth are supposed to be influenced.[10] The Bird-man, called _Kwátaka_ or _Kwátoka_,[11] is an old war-god, and possibly a sun god, the return of whom the Winter Solstice ceremony commemorates. The evidence that the Bird-man personates a sun or sky god is derived mainly from morphological symbolism, and in support of the theory there are here introduced a figure of the most common Hopi sun symbol, also representations of dolls of a sun god, and _Kwátaka_ whom the Bird-man personates. The common sun emblem (plate XXV, _a_) is a round disk with a woven corn-husk margin in which are inserted feathers of the eagle radiating at all angles. From the four quadrants project sticks—the ends of an equal-armed cross. This disk has the following design painted upon it: The upper part is separated from the lower by a horizontal line, and the space above is divided into two parts by a perpendicular line, while the mouth is represented in the lower space by an hourglass-shaped figure. Two marks represent eyes. This disk is worn on the backs of men personating the sun, in many rites, and is found painted on the screens used in the _Palülükoñti_ ceremony. It is the ordinary sun symbol in Hopi pictography. Many conventional modifications of this symbol are common. The painted design is often omitted and the disk reduced to a circle, while the feathers are dropped, or concentrated in clusters in the four quadrants. In the sand picture of _Powalawû_[12] the sun symbol is made of concentric zones of sand of different colors with arrow-shaped extensions in the four quadrants. Again, the circle may be absent, when the four extensions in its quadrants remain, forming a cross called a _tokpela_. This highly conventionalized form of the sun is often found depicted on shields as a warrior’s symbol.