i66 Field Columbian Museum — Anthropology, Vol. IV. 



and above the chin and across the middle of each cheek. From the 

 two rows of dots about the ankles were continued two similar parallel 

 rows of black dots up each leg to the middle of the breast, where they 

 met. Here the two rows on the left side of the body continued in the 

 form of a half-circle, and then passed up on the left shoulder, where 

 they ran downward, following the curve of the shoulder, and so passed 

 down the arm, terminating in the two rows about the left wrist. 

 Similar lines of black parallel dots connected the left ankle with the 

 left wrist. A complete circular sun symbol was thus formed upon the 

 breast, above which was drawn the symbol for the Man-Above. On 

 the back was i)ow traced with two similar rows of black dots, the 

 usual crescent-shaped moon symbol. 



On the third day (see Fig. 2, Plate CXVIII.) these two rows of 

 black dots were replaced by three parallel rows of red dots, occupying a 

 correspondingly similar position on the wrists and ankles and on up 

 the arms and legs to the body, and on the breast and on the body. 

 The moon symbol on the back of the left shoulder on this day was of 

 three rows of red dots. 



On the fourth day (see Fig. 3, Plate CXVIII.), upon a solid 

 yellow body ground the three rows of red dots of the third day were 

 replaced by four parallel rows of dots in green. To give an idea of 

 the closeness of the dots on the body, it may be stated that in each 

 of the four.lines surrounding the face were twenty-six dots, and that 

 m each of the rows forming the sun symbol on the breast were thirty- 

 two dots. The moon symbol on the back of the left shoulder on this 

 day was of four rows of green dots. 



On the third and fourth day with this paint were worn a head- 

 band, belt, wrist and ankle bands of sage, all being fashioned in the 

 usual manner, bound with sinew, containing a sprig of cedar and 

 having attached to them an eagle breath-feather. 



PAINTS WORN IN THE OFFERINGS-LODGE, 1902. 



Owing to the largely increased number of dancers during the 

 ceremony of 1902 over that of the performance of the preceding 

 year, not only were new varieties of paints shown not used in the 

 previous ceremony, but several combinations of paints were used, 

 which made the task of recording the paints for this year an unusually 

 severe one. 



For convenience the different paints will be taken up in the order 

 given for the previous year, with a description, finally, of the paints 

 seen this year for the first time. 



