Picture a grey mass of rock rising up abruptly above the desert, bare of tree or shrub; scattered over its irregular top, blocks of two and three story stone and dried brick houses, for the most part square in outward shape, with steps on the outside built into the wall, or heavy ladders with long projecting ends resting upon platforms built in front of small square topped doorways, the roofs flat and covered with dried grasses. No stairways within these houses permitting passage from lower to upper rooms, and all built after century old architectural plans, by the hands of women. Between the blocks of irregular houses picture rectangular slabs of stone rising two feet above the ground, containing an opening in the middle out of which project high in the air the two ends of a hard-wood ladder, the rungs of which have been worn almost through by the passage of naked feet that have pressed up and down on these bits of wood for scores of years. It is not easy to imagine the real fact that down in those upstairs cellars the men of Oraibi lead their club life, weaving down there in the dim light that filters past the ladder, the rugs and belts and other material mysteriously used for religious ceremonial. And down in the snake priests' kiva, just over yonder, the venomous reptiles have been kept for weeks past in the sacrificial clay jars, out of which they have crawled during the rites of their purification and hung in twisted hissing knots out of the crevices between the sides of the kiva walls, from which places the brown hands of old Thisdoa, Talavenka's father, have only this morning taken them to put in the cottonwood booth out on the village plaza, where they are now awaiting their part in the coming ceremony. For old Thisdoa is the head priest and knows more of the mysteries of the snake nature than any being in Oraibi.