172 Field Columbian Museum — Anthropology, Vol. IV. 



After the chief priests and servants saw the new paint they 

 thanked the young man and placed his gift on the left side of the 

 Lodge-Maker's stand. One of the priests did not like the painting, 

 and considered it as a medicine paint, which means, not holy before 

 the sight of the Father. In all the Sun Dance ceremonies that took 

 place, where this paint was worn, one of the priests was jealous of 

 the young man; but in the long run this young man thought best to 

 reverence the priest, so he gave up a pony to the jealous priest, so that 

 he offered no further objections. 



Those who heard the story of this young man praised him, and at 

 once welcomed the paint, which was the same as had been used on the 

 young man, for his personal good. 



GENERAL OBSERVATIONS ON THE PAINTS. 



With all the paints, the dancers wear the five bunches of sage at 

 their waist, one on each "corner of the body" and one at the middle 

 of the back ; these are for the Four-Old-Men and Man-Above. Why, 

 with some paints, sage wreaths are worn, and not with others, is not 

 known. Before any of the sage accessions are fastened on the dancers 

 by the grandfathers, they motion them before the dancer four times, 

 and then place them in position. 



With all paints is worn a black dot on the nose, for the buffalo 

 calf, and tear symbols under the eyes. The tear symbols with the 

 first paint are short, irregular lines; with the second and third paints 

 they are an inverted Y-shape. 



The circles about the waist and ankles, as well as the wrist and 

 ankle bands of sage, are symbolic of the Four-Old-Men. On the 

 breast and left shoulder are respectively symbols of sun and moon, 

 who are grandfather and grandmother of the Four-Old-Men. Above 

 the breast sun symbol, or over the face sun symbol is the symbol of 

 Man-Above, the Father. This symbol is often found on both breast 

 and face, but it should not occur in more than one place, the other 

 symbol being that of the cedar. 



XI.— The Relation of the Transferrer to the 

 Lodge-Maker's Wife. 



Concerning the subject under discussion on this occasion, great 

 difference of opinion evidently exists among the Arapaho as a tribe. 

 The following account was written after several conversations with 

 Hdwkan on the subject during his stay in Chicago. Supplementary 



