May, 1903. The Arapaho Sun Dance — Dorsey. 169 



The red dots terminating the crescents represented pulse-beats. The 

 dots and crosses about the face were said to represent sun raj's and 

 lodges. 



The costume of this dancer differed somewhat from that worn by 

 others on these days. There were, of course, the five usual bunches 

 of sage at the waist, but he wore neither the head nor waist band of 

 sage, nor the sage wristlets and armlets. Thrust in the scalp-lock and 

 standing above the head was a yellow-stained breath-feather. 



THE YELLOWHAMMER PAINT. 



This interesting paint, on account of its startling and unusual 

 symbolism is said to be very difficult to wear. It was borne on the 

 three days by Yahiise, Hinenbai, and Bessie (Wood). (See Plate 

 CXXX. ) Niehhinitu (see Fig. 3, Plate CXXIV.) also wore the first 

 variety of this paint, but on account of physical weakness was obliged 

 to leave the lodge before the end of the day. Had he been able, he 

 would have made the fourth to have worn this paint for three days. 



Throughout the three days the entire body was painted yellow. 

 (See Plate CXXXII. ) For the second and third paints the hair also 

 was painted yellow, the face, hands, and feet, however, being painted 

 red. The red face, for the second and third paints, was grained. 

 Above and below each eye was a straight black line, while on the nose 

 was a black dot. Beginning just at the base of the chin and extending 

 slightly down on the breast was a band of green, while just below it 

 was a narrow line in blue. At the shoulders, elbows, wrists, knees, and 

 ankles, and on the center of the breast, was painted a large circle in 

 solid blue. On the back were painted four green rectangular symbols. 



The third paint (see Fig. i, Plate CXXXII.) differed slightly from 

 that just described, inasmuch as the circular symbol on the breast was 

 painted in black, while across each of the large blue dots were two 

 wary parallel lines, made by drawing two fingers across the dots while 

 the paint was still fresh. 



The fourth paint (see Plate CXXXIII.) differed materially from 

 the second and third, while the paint of the body remained yellow, 

 which now included the face, hands, and feet. (See Fig. 2, Plate 

 CXXXII.) Around the face, on the breast, and around the wrists 

 and ankles were circular blue lines. Above the circular line on the 

 face and on the breast were the usual Man-Above symbols. Connect- 

 ing the circular breast symbol with those of the wrists and legs were 

 the usual straight lines, passing up over the shoulders and down in 

 front of the body. Bordering each side of these lines, including the 

 wrist and ankle bands, were rows of small green dots. On the nose 



