grass, and, holding his hands to the sun, sputters the liquid over them. He then proceeds to press the body of the patient, who is seated, turning it first one way, then another, and repeating this four times. This done his body is rubbed with sheep tallow and the usual mixture of animal tissues, after which the ashes of the above mentioned burnt weeds are spread over the entire body, while the patient's face is painted red with a mixture of red clay and grease, with stripes of black drawn across the cheeks and the entire chin. He is now made to step, or rather rest his feet, in dirt dug up by a gopher, which is held in a blanket before him, putting first his left then the right foot into it. The charm, consisting of a tail feather of the roadrunner wrapped with eagle down feathers, is now tied to his hair. Wristlets too, made of braided leaves of slender yucca, are tied to his wrists, while buckskin saddle-bags, studded with white beads, (which are purchased from the Utes), serve as shoulder bands, crossing each shoulder to the hips. Finally, the bill of a crow is secured to the palm of the right hand, and is used in this manner. The patient remains rigged in these trimmings throughout the afternoon and evening, and partakes of a plain gruel, after previously saluting the sun by inhaling the sun's breath, that is, accompanying inhalation with a gesture toward the sun.

"As usual, the day and ceremony are closed with the dance of the girls, after which the singer removes the trimmings from the patient, as also that of the rattle, instructing the bearer of it to securely deposit the shaft. This he does

amid prayer, and a secluded crevice or ledge of rock is selected for deposition.

ADDENDA.

"In addition to the above it was learned that the war dance is conducted for dispelling foreign enemies only, whether they be real or imaginary. If, accordingly, in fancy one is pursued by foreigners, such as Americans, Comanches, Utes, Pueblo Cliff-Dwellers, or others, and is indisposed on this account, he calls upon the war singers to destroy these enemies. This accounts too, for the custom of coveting a tuft of hair, a piece of a legging, a whole or the part of a scalp, a piece of bone or clothing belonging to an Apache, Ute, or other foreigner, or purchasing them when seen at a curio store. When these objects are in possession of a friend, no time or labor is spared to acquire portions of them if desired for immediate use. A journey of this kind is termed going on the war-path, and the parts of the enemy required, or designated as desirable for the rattlestick, are usually indicated by the astrologers and divinators called upon previously to trace the source of illness. If successfully obtained, the bone, hair, rag, or other trophy, is tied to the horse's tail to avoid contamination, and is hurried without delay to its destination. Otherwise, too, such trophies are held at some distance from one's person while in their transportation, being tied to a stick and placed at some distance from the camp, while at home they are hidden in some distant hidespot for future use. This is a remnant of an old war custom whereby the moist scalp was car

ried in a similar manner, and contamination, or rather, pursuit, by the spirit of the slain, avoided by means of the blackening, or war dance, held soon after a skirmish. The medicine pouches of the war singers were, therefore, frequently provided with such trophies as hair, finger-nails, and finger tips of slain enemies, or the collarbone of the enemy, for the purpose of conducting their war rites.

"At present the trophy is inserted with the bundle of weeds, and on the final day of the ceremony, when the blackening of the patient has taken place, it is carried out some distance from the place of final gathering and deposited upon the ground by the singer. The throng surrounds the trophy at a respectful distance, while the singer takes a pinch of ashes and sprinkles the trophy with it, exhorting the visitors not to gaze upon it while this is being done. When the patient, too, has sprinkled ashes upon it, two of the visitors rush up and discharge their guns (formerly their arrows) upon the trophy. They then sing the praises of the patient in slaying or running the enemy down. This is concluded in the evening, just before dark, by a general celebration of victory. The rattle bearer and other invited singers of the war rite indulge for about half an hour in yelling and rushing at one another with firebrands, a turn which is soon taken up by all men and boys present. The rest of the night is spent in dancing and merriment.

"The blackening is sometimes performed independently of the other features of the war

dance, and may be done in the open, or in the hogan, or even in a modern house.

"For dispelling native enemies, such as the influence of the monsters of the legends, and innumerable witches, another war dance, the blackening against witchcraft, is conducted.

"In the description of the masks, mention has been made of the bow and queue as emblematic of the clothes of the Slayer of Monsters and his brother. For similar traditional reasons the openings of the bow and queue are left open on the rattlestick. As the Slayer of Monsters or Enemies and his brother, the Water Child, are inseparable in the destruction of enemies, the symbol of bow and queue are both added to the rattlestick as indicating the power of these two gods.

PUBLIC EXHIBITIONS OR DANCES.

"The night chant, and some of the mountain chants, occasionally close with a public exhibition by masked personators, which, however, is not essential to the chant, but optional with the patient. When the night chant is to be closed privately, or like any ordinary chant, the masked personators perform inside the hogan, and the mountain chant is limited, in a similar event, to five nights, with the exclusion of drum and dancers.

"In public, the personators perform in a corral, and for the mountain chant, around a huge fire built in the center of this corral, which accounts for the popular names of the corral and fire dances for these two chants. These corrals or enclosures are made of brushwork, set up

after sunset, which, in the mountain chant, is done under the direction of the masked personator of the Speaking God, who gives his directions by gestures and his usual call only. The corral is of the same shape for every public exhibition, and has but one opening in the east, though at dawn the enclosure is broken at the other cardinal points also.

"The personators for the night chant disrobe to the breechclout and moccasins, paint their bodies with white clay, and adorn themselves with a silver belt, and the skin of a kitfox dangling in their rear. Each dons one of the masks, after which they are not allowed to speak, and they enter the corral in single file, in which position they dance to the beat of a drum. They leave the corral after some time and make way for another set of dancers to whom they give their masks and regalias. This is continued until dawn is announced, after which the corral is opened.

"In the mountain chant the personators, such as the two performing the feat of swallowing the arrows, and the fire dancers, are not masked, but disrobe, and paint their bodies for protection from the excessive heat. A variety of legerdemain was in vogue at this dance, such as the growing of yucca, the dancing porcupine quill, and other performances, which took up the intervals. Originally, custom required the messengers, or meal sprinklers, to invite foreign tribes to contribute with their magic for the occasion. Later these invitations extended only to the shamans of the tribe whose insignia, when they had such, were borne to the place of cele