y
Hostjoghon. He passed the square (the concentrated winds) four times over
the head of the invalid during his hoots. Hostjoghon then waved his turkey
wands about the head and body of the invalid, and the first day's ceremony
was at an end.

SECOND DAY.

DESCRIPTION OF THE SWEAT HOUSES.

The construction of the first sweat house, or tachi, was begun at dawn.
Four of these houses were built on four consecutive mornings, each one
located about 400 feet distant from the great central medicine lodge,
toward the four cardinal points, and all facing to the east. The first one
built was east of the lodge. A description of the construction of this
particular one will answer for all, but the ceremonies differ in detail.

Four upright poles, forked at the upper ends, were placed at the four
cardinal points within an area designated as the base of the house, the
forked ends resting against each other, a circular excavation some 6 feet
in diameter and 1 foot in depth having first been made. Between the
uprights smaller poles were laid; on the poles pinon boughs, sage and
_Bigelovia Douglasii_ (a kind of sage brush) were placed as a thatch; all
being laid sufficiently compact to prevent the sand placed over the top
from sifting through. The doorway, on the east side of the house, was
about 2-1/2 feet high and 20 inches wide. Highly polished sticks (the same
as those employed in blanket weaving) were used to render the sand
covering of the structure smooth. The sweat houses to the east and west
had the rainbow painted over them. Those to the north and south were
devoid of such decoration, because the song priest seldom completes his
medicine in one ceremonial; and he chose to omit the songs which would be
required if the bow ornamented the north and south sweat houses. Under the
direction of the priest of the sweat house, who received instruction from
the song priest, three young men painted the rainbow, one the head and
body, another the skirt and legs, while the third painted the bow. The
head of this goddess was to the north, the bow extending over the
structure. The colors used were made from ground pigments sprinkled on
with the thumb and forefinger. Whenever a pinch of the dry paint was taken
from the pieces of bark which served as paint cups, the artist breathed
upon the hand before sprinkling the paint. This, however, had no religious
significance, but was merely to clear the finger and thumb of any
superf