May, 1905. The Cheyenne — Dorsey. 169 



drawn a circular symbol, outlined first by a red line, then by an en- 

 circling black line; the area within the red line was filled solidly in 

 green. Radiating from points equidistant apart on this breast symbol 

 were four green lines, two of which passed upward toward the shoulder 

 and down to a red line surrounding each arm, corresponding in 

 position to the red line about the waist and which separated the 

 black of the upper arm from the red of the lower arm. Two other 

 lines of green passed downward from the circular breast symbol 

 and terminated in the red line about the waist. A similar circular sym- 

 bol was placed upon the face, the region about the eyes, nose, and 

 mouth first being painted green and surrounded by a red line 

 within the black space which occupied the remainder of the face. 

 On the back of the right shoulder was a crescent-shaped symbol of 

 similar color, that is with a green center, inclosed within a red and a 

 black line. At various places over the black field of the upper part of 

 the body were green dots an inch in diameter, made with the end of 

 a round stick. Around the wrists and ankles wer** black encircling 

 bands. A straight black line joined the bands around the wrists to 

 the red band just above the elbow. Over the red field of the lower 

 part of the body, including the legs and forearm, after the paint had 

 dried, the priest applied here and there designs made by slapping 

 the body with willow leaves which had been dipped in red paint. 



With this paint the Lodge-maker wore a willow wreath around his 

 head, a bandoleer of willow over his left shoulder and under his right 

 arm, a willow band about his waist, and willow wreaths about his 

 wrists and ankles. 



Third, Fourth, and Fifth Paints. The remaining paints worn 

 by the Lodge-maker, namely, the third, fourth, and fifth, and includ- 

 ing those worn on the second day, were, with one exception, to 

 be noted later, exactly the same as those worn by the other dancers, 

 and will be described with the prescribed paints. 



PRESCRIBED OR REGULAR PAINTS. 



Before giving a detailed description of the regular paints, it may 

 be noted that when they are given in full they fall into four groups, 

 which originally were worn on the four days. The first is known as the 

 Yellow-paint ; the second as the Pink-paint ; the third as the White- or 

 Hail-paint; the fourth as the Black-or Cyclone-or Dragon-fly-paint. 



I.- THE YELLOW-PAINT 



This is the first paint, and is worn on the morning of the altar day. 

 The entire body (see PI. LVIL, Fig a), including the face and hair, were 



