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. The dark upright and light inverted peaks were evidently employed as familiar and favorite emblems of earth and heaven.
