e Srauta rites--i.e. the rites based on the _sruti_
or revelation--requiring at least three sacrificial fires and a number
of priests, as distinguished from the _grihya_ (domestic) or _smarta_
(traditional) rites, supposed to be based on the _smriti_ or tradition,
which are performed on the house-fire and dealt with in the
_Grihya-sutras_.

The ritual recognizes four principal priests (_ritvij_), each of whom is
assisted by three subordinates: viz. the _Brahman_ or superintending
priest; the _Hotri_ or reciter of hymns and verses; the _Udgatri_ or
chanter; and the _Adhvaryu_ or offerer, who looks after the details of
the ceremonial, including the preparation of the offering-ground, the
construction of fire-places and altars, the making of oblations and
muttering of the prescribed formulae. Whilst the two last priests have
assigned to them special liturgical collections of the texts to be used
by them, the _Samaveda-samhita_ and _Yajurveda-samhita_ respectively,
the Hotri has to deal entirely with hymns and verses taken from the
_Rigveda-samhita_, of which they would, however, form only a
comparatively small portion. As regards the Brahman, he would doubtless
be chosen from one of those other three classes, but would be expected
to have made himself thoroughly conversant with the texts and ritual
details appertaining to all the officiating priests. It is, then, to one
or other of those three collections of sacred texts and the respective
class of priests, that the existing Brahmanas attach themselves. At a
later period, when the Atharvan gained admission to the Vedic canon, a
special connexion with the Brahman priest was sometimes claimed, though
with scant success, for this fourth collection of hymns and spells, and
the comparatively late and unimportant Gopatha-brahmana attached to it.

The Udgatri's duties being mainly confined to the chanting of hymns made
up of detached groups of verses of the _Rigveda_, as collected in the
Samaveda-samhita, the more important Brahmanas of this sacerdotal class
deal chiefly with the various modes of chanting, and the modifications
which the verses have to undergo in their musical setting. Moreover, the
performance of chants being almost entirely confined to the
Soma-sacrifice, it is only a portion, though no doubt the most important
portion, of the sacrificial ceremonial that enters into the subject
matter of the Samaveda Brahmamas.

As regards the Brahmanas of the _Rigveda_, two