The correspondence between the Héemashikwi, or last[123] dance—the tablet dance described by me elsewhere as occurring at the close of the series of Kókos—is probably the same as the Nimánkatcina. There are many similarities to indicate this fact, and, although as yet we know nothing of the secret observances connected with it, I suspect that a similarity between them and those described in the Móñkiva will later be made known. Dolls in imitation of the Héemashikwi are reported in the catalogue of Colonel James Stevenson’s collection from Zuñi in 1881, and I have no doubt it will be found that there formerly was, and possibly still survives, at the celebration of this dance at Zuñi the characteristic habit in Tusayan of distributing dolls as presents at the departure of the Katcinas. Mrs Stevenson has given short descriptions of some of the Zuñi Kókos and figures of the masks of the same. While it is not possible for me to use them in a comparison with Katcina celebrations, they are interesting in studies of symbolism. The “flogging Kókos,” for instance, seem to function the same as Túñwup among the Hopi, but as the symbolism of the mask of the floggers, Saiāhlias, is not given by Mrs Stevenson I am not able to express an opinion whether the same personage is intended or not. The time of year when the flagellation is inflicted by the Saiāhlia of Zuñi would be an interesting observation, and the accompanying ceremonials would also be of great interest for comparison with the Powámû. I have not been able to find the equivalents of the Sälämobias among the Hopi, but the symbolism of Pooatíwa agrees almost exactly with that of the Hopi Paútiwa. The Sälämobias of the different world-quarters agree in color with those assigned by the Hopi to the same points, with the exception of those for the above and below. In Zuñi, according to Cushing and Mrs Stevenson, the above is all colors, the below black. Among the Hopi the above was found to be black and the below all colors. This discrepancy in observations is recommended as a good subject for future students, both in Tusayan and Zuñi. In reviewing the Hopi ceremonial personages I have been unable to find any homology with the Sälämobias. The views of the masks[124] given by Mrs Stevenson afford little information on this subject, but in her sand picture, surrounded by the Plumed Snake, I find some of the figures of Sälämobias with indication of a connecting band between the eyes, which recalls Paútiwa’s[125] symbolism. There does not seem to be a wide difference between the profile views of the masks of Paútiwa and Sälämobia of the different world-quarters.