As the Zuñi god is said to be standing on his red star (an mo-yätchun thlana) and figures as a centre of rotation, I look upon this fetish as affording most striking confirmation of my conclusions concerning the origin of the swastika and cross symbols. If it is certain that, at the present day, the Zuñis associate this star-god with Sirius and their cross symbol with the morning star, then it is quite obvious that they have lost the original meaning of the rotating-star fetish, which could never have been suggested by either of these or, indeed, by any other heavenly body but Polaris. I regret that space does not permit me to consider here, more fully, other close analogies between ancient Mexican and modern Zuñi religious ceremonies, etc., besides those which have been so well described by Dr. J. Walter Fewkes. I cannot omit to note here for further reference that the national war gods of the Zuñis are the twin-brothers Ahaiiuta, the elder, whose altars were situated _to the right_ or south and west of Zuñi, and Matsailéma, the younger, whose altars stood _to the left_ or north and east of the village. The secret society of the warriors and priests of the bow dedicated their cult to these brothers, whose counterparts we have already studied in Mexico and Yucatan. Returning to the primitive designs which expressed the union of the Above and Below, I point out an interesting example from the “Lyfe of the Indians,” which likewise symbolizes the four quarters, and their subdivision and their relation to the whole (fig. 32, no. 3). A somewhat analogous design, from Peru, presents an outline resembling a swastika (fig. 40, no. 9) which, when filled in with alternate colors, yields fig. 40, no. 1, in which the idea of the Above and Below preponderates. Another example of an analogous employment of a light and dark color is furnished by a shield in the Codex Mendoza, shown in fig. 1, no. 1, alongside of an interesting image which gives us an insight into the depths of meaning contained in the dualistic native designs. It consists of a disk, one-half of which represents the starry heaven and the other the sun, resting on a parti-colored support (no. 8). It is evident that day and night are thus symbolized, and it is reasonable to infer that in some centres of thought especially the ideas of light and darkness should have become associated with the two different forms of cult the followers of which would be respectively designated as the children of light and the children of darkness. By means of a light and a dark color numberless variations of the one theme were indeed obtained. In the native Codices, in textile fabrics and on pottery, there are also numerous examples of an extremely simple design consisting of a single zigzag line running between two parallel lines and dividing the intervening space into two fields, the lower of which is filled out with black and the other with some light color.