I70 Field Columbian Museum — Anthropology, Vol. IV. 



and under the eyes were, respectively, the buffalo and tear symbols. 

 On the back of the left shoulder was the crescent-shaped black line, 

 bordered on its two sides by blue dots. Sage wreaths for the head, 

 waist, wrists, and ankles were worn on this day. 



Concerning the symbolism of the Yellowhammer paint nothing 

 was learned about the fourth day. Of the symbolism used for the 

 second and third paints, however, the following information was 

 obtained : The red face and hands represented the sun, or rather the 

 heat of the sun; while the grained effect on the face symbolized the 

 heat rays, or perhaps it would be more proper to say that the effect 

 represented the effect of fire, i. e., a burnt or charred appearance. 

 The various blue circular designs, as well as the blue band around the 

 neck, represented the holes in trees, or the nests of the Yellowham- 

 mer; they were also said to characterize tipi-rosettes which were 

 derived from the sun and moon. The yellowhammer, it was explained, 

 controls the fire, and is particularly influenced by the rays of the 

 sun. The four rectangular designs in green on the back typify the 

 vegetation of the earth in general, and were said to be life-elements, 

 being four in number, to correspond to the Four-Old-Men, who were 

 directly responsible for the breath of life of all living creatures. 



THE CIRCULAR OR THUNDER PAINT. 



This paint was worn on all three days by VVahdbahu (see Plate 

 CXXXIV.), Chanitoe (see Plate CXXXV.), Hochoawa (Running- 

 Crow), Neheheih (Little-Bird), KakUyanake (Scabby-Bull) (see Plate 

 CXXXVL), and Watdwateeh (Come-up-HiU). 



The body (see Fig. i, Plate CXXXVIL), including the hair, was 

 for the second paint, painted red. Over this on the hair, hands, and 

 feet, was painted an additional coat of red, bright in color. In the 

 center of the breast and on the joints at the shoulders, elbows, groin, 

 knees, and ankles were painted bright red circular spots, surrounded 

 with a black line. 



For the third paint (see Fig. 2, Plate CXXXVIL) the body color 

 was yellow, the face, hair, hands, and feet being red, as before, with 

 the same red circular dots at the same places on the body. 



The fourth paint (see Fig. 3, Plate CXXXVIL) consisted of a 

 deep black body ground, grained all over the body with red hands and 

 feet, and the red circles at the joints on the breast, as on the two 

 preceding days. Hochdawa on this day held in his right hand a black 

 eagle-tail feather. 



On all three days, on the back was painted, just over the region 



