The celebration of the Return Katcina, which occurs in the winter Pa moon, is accompanied by elaborate rites performed by either the Snake-Antelope or the Flute fraternity, the society observing it being that which will give its celebration in the summer Pa moon of the same year. A description of these rites naturally falls in an account of the group of unmasked dances. They extend over several days and appear to be wholly distinct from the celebration of the Return Katcina. While these are being performed in the “upper world,” the complemental Flute or Snake observances are supposed to be taking place in the “under world,” where the summer Pa moon then reigns. Precisely the same relationship is thought to exist between the two as that between the seasons of the north and south temperate zones. POWÁMÛ This ceremony is one of the most elaborate in which the Katcinas appear, and for want of a better name may be designated a renovation[52] or purification observance. In the year 1893 it took place near the close of January and continued for nine days, and in a previous[53] article I have mentioned and figured the most striking personages, the monsters or Natáckas, who appear in its presentation (plates CV, CVI, CXI). There are, however, certain other personages new to students of Tusayan ceremonials who are introduced, and I have therefore thought it well to describe the presentation in extenso. The details of this ceremony in 1893 were as follows:[54] _January 20_—Early this morning Hoñyi went to all the kivas and formally announced that the ceremony was soon to begin. There was no public announcement, as no Katcina celebration is made known in this way, and the Katcinas must not be spoken of in public. Íntiwa and Pauwatíwa began making páhos in the Móñkiva without preliminary ceremony at about 9 a. m., and fifteen other priests removed the masks and redecorated them, after having scraped off the old paint remaining from other ceremonials. All the masks were finished about 7 p. m., after which Suñoitiwa and the other elders brought fox-skins and other paraphernalia into the kiva, where Kwátcakwa, Kópeli, Tcábi, Kákapti, and four or five other men began to decorate their bodies with pigment, using a pale-red iron oxide (cúta) on their legs, knees, and waists. They daubed the whole upper leg above the knee with a white pigment, and drew two lines across the shins, the fore and upper arms, and on each side of the chest and abdomen. The entrance into the katcínaki, or paraphernalia closet, was open while this took place. The masks were all ornamented with large clusters of feathers. They were tied to the head with a loose loop across the top which slipped over the crown where the plumage rested, and there were strings at the sides of the mask by which they were attached. The body was ornamented with ribbons, red flannel, and other articles of white man’s make, which are innovations.