The Hopi, like many people, look back to mythic times when they believe their ancestors lived in a “paradise,” or state or place where food (corn) was plenty and rains abundant, a world of perpetual summer and flowers. Their legends recount how, when corn failed or rain ceased, cultus heroes have sought these imaginary or ideal ancestral homes to learn the “medicine,” songs, prayers, fetishes, and charms efficacious to influence or control supernaturals, which blessed these happy lands. Each sacerdotal society tells the story of its own hero bringing from that land a bride, who transmitted to her son the knowledge of the altars, songs, and prayers, which forced the crops to grow and the rains to fall in her native country. To become thoroughly conversant with the rites he is said to marry the maid; otherwise at his death they would be lost, since knowledge of the “medicine” is believed to be transmitted, not through his clan, but that of his wife. So the Snake hero brought the Snake-Maid (corn-rain girl) from the underworld; the Flute hero, her sister, the Flute-Maid; the Little War God, the Lakonemana and other supernaturals. A Katcina hero in the old times, “on a rabbit hunt came to a region where there was no snow. There he saw other Katcina people dancing amidst beautiful gardens. He received melons from them and carrying them home told a strange story of the people who inhabited a country where there were flowering plants in midwinter. The hero and a comrade were sent back, and they stayed with their people, returning home loaded with fruit in February. They had learned the songs of those with whom they had lived, and taught them in the kiva of their own people.”[39] In the ceremonies with unmasked personifications, or those celebrated yearly between July and January which are not Katcinas, an attempt is made to reproduce rites which legends declare the cultus or ancestral heroes saw in the lands they visited, which lands are reputed to be variously situated, but generally in the underworld, to augment the efficacy of the ceremonies. In the ceremonies between January and August, or those called Katcinas, the same feeling is dominant. Each performance is an endeavor to reproduce a traditional ancestral Katcina celebration. The performers are masked because, according to their stories, the participants in those ancient rites are reputed to have had zoomorphic, or at least only partially anthropomorphic forms. The symbolism of the mask portrays the totems of those legendary participants, and those of corn, rain, water-loving animals, lightning and the like, therefore predominate. I have shown in preceding papers that both the symbols and figurines on Katcina altars refer to the sun, rain clouds, and the fertilization, growth and maturation of corn. It has likewise been made evident that the ceremonial acts of the priests are employed to affect the supernaturals who control these elements or produce these necessities.