d, each time waving the gourd around the invalid with a wave
toward the east. He then placed the palm of his hand over the feet of all
the figures, beginning with the figure at the south end, west side;
running up that line he began with the figure on the north end east side,
running down that line; he then placed his hands to the soles of the feet
of the invalid, hooting twice; then the heart of the invalid was touched
in the same manner with the palm of the right hand, the left hand being
placed to his back. The body was pressed in this way four times amid loud
cries. This was repeated upon the invalid. After touching each figure of
the painting, the right hand was placed to the forehead of the invalid and
the left hand to the back of the head, and the head pressed in this way on
all sides. The song-priest put live coals before the invalid and upon them
sprinkled tobacco and water, the fumes of which the invalid inhaled. An
attendant then threw the coals out of the fire opening, and the
song-priest gathered the twelve turkey wands from around the painting
while the inmates of the lodge hastened forward to press their hands upon
what remained of the figures, then drawing a breath from their hands, they
pressed them upon their bodies that they might be cured of any
infirmities, moral or physical, after which four men gathered at the
points of the compass and swept the sand to the center of the painting,
and placing it in a blanket deposited it a short distance from the lodge.

NINTH DAY.

FIRST CEREMONY.

The final decoration of masks with ribbons, plumes, etc., began at sunrise
and consumed most of the morning. About noon two sticks 1 inch in diameter
and 6 inches long were colored; one, of pinon, was painted black, the
other, of cedar, was colored red. Three medicine tubes were made, one
black, one red, and one blue. These were placed in a basket half filled
with meal; the basket stood in the niche behind the song-priest. Two men
personated Naiyenesgony and Tobaidischinni. Naiyenesgony's body was
painted black (from the embers of a burnt weed of which specimens were
procured) and on the outside of his legs below the knee, on the upper
arms, breast and scapula were bows in white but without arrows.
Tobaidischinni had his body painted with the scalp knot in white in
relative positions to the bows on Naiyenesgony. A third man, personating
the turquois hermaphrodite Ahsonnutli, wore the usual squaw's dres