1 62 Field Columbian Museum — Anthropology, Vol. IV. 



The hair of the Lodge-Maker, as well as that of all the other 

 dancers during the ceremony, is either loosely braided at the sides or 

 is gathered in a bunch on the side of the head and tied with a string. 

 (See Fig. i, Plate CXII.) On the two last days the tear symbols under 

 the eyes are replaced by inverted Y-shaped designs. The presence 

 of these tear symbols, and the change in their character from zigzag 

 lines on the second paint to Y-shaped designs with the third and 

 fourth paints, was noted with all the other dancers for the ceremonies 

 of. both years. 



THE PINK-CALF PAINT. 



This paint was worn in 1901 by Henienit (see Fig. 2, Plate CXIL 

 and Fig. i, Plate CXIIL), Watanah (see Fig. i, Plate CXIV.), Wadtu, 

 and Chaui on all three days; in 1902 it was not represented. 



The "Pink-Calf paint" is second only in importance to that worn 

 by the Lodge-Maker. It is uniform throughout the three days, and 

 a single description may suffice for the third and for the fourth day, 

 (See Fig. i, Plate CXV.) 



After these men had painted the entire surface of their bodies 

 red, each one returned to his grandfather, while the paint was still 

 moist; the latter drew the finger tips of both hands over the dancer's 

 entire body, thus producing a sort of ribbed or grained effect. Both 

 hands up to the wrist and both feet up to the ankles were now thickly 

 coated with black paint. Then, from both of these black surfaces, 

 extending upward on the lower arms and lower legs was drawn a tree 

 symbol, consisting of a black line of about six inches in length, from 

 each side of which radiated outward and slightly upward short parallel 

 lines. This symbol represented the cedar tree, typical of durability 

 and continuity. 



On each side of the tree symbol, and having their bases terminating 

 in the black paint of the hands and feet, was a small black symbol 

 about two inches in height and two inches wide, having straight sides, 

 but terminating above in the shape of a crescent. These two symbols 

 on the side of the cedar tree represented the earth. Over the breast 

 of each dancer was then painted a circle, representing the sun; above 

 it was drawn the symbol of a man standing upon the sun, similar to 

 that already described as on the breast of the Lodge-Maker. 



Under each eye of the four men were then painted the usual tear 

 symbols, while over the forehead were placed two similar symbols 

 connected by a black line which extended from one side of the fore- 

 head to the other. On the back of the rig^ht shoulder was a moon 

 symbol in black. 



