154 Field Columbian Museum — Anthropology, Vol, IX. 



moved the eagle breath- 

 feather from the hair of 

 their subjects, and gave 

 each one a bunch of sage, 

 whereupon the dancers went, 

 without formahty, to buckets 

 of water, provided for this pur- 

 pose, and with the sage thor- 

 oughly drenched themselves 

 from head to foot. (See Figs. 

 88 and 89.) It was now about 

 four o'clock. No further rites 

 were performed in the lodge, 

 nor was there any further 

 movement until about seven 

 o'clock in the evening. 



THE SECOND PAINT. 



Dancers washing off the paint. 



(Mooney.) 



The dancers were painted as 

 in the afternoon. First each 

 dancer handed his grandfather the pipe. After smoking, the grand- 

 fathers made for each of the dancers a willow wreath into which was 

 inserted a red stained eagle breath-feather, symbolic of the eagle, — as 

 the whistling represents his cry when he is in the air. After painting 

 it the willow sage wreath was placed on the dancer's head, and 

 in his belt were inserted the usual five bunches of sage. 



After all had been painted, the order of procedure as well as the 

 manner being the same as in the forenoon, food was provided, the 

 dancers made the usual 

 sacrifice of food, and the 

 feast followed. Coals 

 were provided for the 

 priests and they painted 

 the dancers and prepared 

 their feet, hands, etc., as 

 in the afternoon. The 

 fire was replenished with 

 accompanying war storv, 

 and the dancers made 

 ready for the evening 

 performance, which did 

 not differ from that Fig. go. Arapaho dancer taking up willow pole. 



