i6o Field Columbian Museum — Anthropologv, Vol. IV. 



THE LODGE-MAKER'S PAINT. 



This paint in 1901 was worn by Thihduchhdwkan and Bihata on all 

 three days; in 1902 by Niwaat, Wadtanakashi, and Yahiise on all three 

 days, by Hitehuu (Little-Crane), on the first day, and by Hathdniseh 

 (Lone-Star) and Hin^nwatani on the first and second days. 



Whereas the painting of the other dancers during the ceremony is 

 determined either by their own choice, or by that of their particular 

 grandfathers, the Lodge-Maker of the ceremony always wears a certain 

 paint. Frequently, to add emphasis to and intensify the symbolism 

 thus portrayed, the paint is worn by one or more other individuals, 

 Bihata being such an one in the ceremony under consideration. A 

 description of the Lodge-Maker will therefore suffice for the latter 

 individual. 



The order of procedure followed by the: Lodge-Maker's and 

 Bihata's grandfathers in painting them was uniform throughout the 

 three days' ceremony. (Fig. i, Plate CX.) After the Lodge-Maker 

 had, on each of the three days, received the first or body coat of 

 white earth paint, and after it had become thoroughly dried, he knelt 

 down in front of the grandfather. The latter then took a moistened 

 cloth and erased the white paint at certain places, leaving the flesh 

 exposed in the form of a diamond. This was done on the front of 

 both upper and lower arms, and on the front of the upper and lower 

 legs. A similar but larger diamond-shaped space was then erased in 

 the center of the breast. The Lodge-Maker then turned his back to 

 the grandfather, who on the right shoulder erased a crescent-shaped 

 space. The diamond-shaped spaces were then outlined in black, while a 

 black line was also extended around the ankles and around the wrists. 

 From each ankle circle a black line was continued up the leg to the first 

 diamond-shaped space, and then from its upper apex on to the base 

 of the figure on the breast, where it was continued along one side, up 

 over the shoulder, and down on the arm to the circular band at the 

 wrist, connecting the two diamonds on the arm. The same line was 

 then drawn on the other half of the body, beginning at the ankle and 

 terminating at the wrist. He now drew a black circle around the face, 

 passing over the center of the chin, through the middle of the fore- 

 head, and just in front of the ears. The entire face within this 

 circle was now painted red, while the nine diamond-shaped figures 

 were also painted red. These red surfaces, both on the face and on 

 the body, were now outlined and separated from the black line by 

 means of a narrow yellow line. 



The Lodge-Maker then placed his back to the grandfather, while 



