[WILSON] THE SACRIFICIAL RITE OF THE BLACKFOOT 17 



sun-dogs. The black colour means night, and the yellow day. Of all the 

 figures, that representing the Morning Star is alone without a yellow 

 border, because he alone is never visible by daylight. The sun-dogs are 

 the ornaments of the Sun, his face painting. The moccasin is used in the 

 making of the figures because SCarface in the first ceremony had for that 

 purpose a moccasin of buffalo hide. That belonging to the right foot is 

 alone proper for this use because the right hand" and foot are stronger 

 than the left and can be more depended upon. The feather, here, is 

 the symbol of a cloud, and the feather first disturbs the clay mound 

 because big clouds disperse under the direction of little clouds, as can 

 be seen almost any day. So explains the Blackfoot ritualist. 



The sacrificer now goes outside, and lowering the offering from it? 

 position at the top of the lodge, de^taches it from the long pole, and 

 carries it round the north side to the lentrance at the east, where he 

 stands while the priest inside chants one of the sacred songs. At the 

 end of the song the bearer of the sacrifice walks to the south, and a 

 second stand is made during tlie singing of another song. This being 

 repeaijed at the west, and north, the bearer finally stands faciag the 

 dootr again, until, at a given signal from within, he enters, goes south 

 of the fireplace and hands the offering to the priest, who places it upon 

 the pile of Artemisia in front of him, the feather of the offering pro- 

 jecting over the clay painting. 



The adept, taking hold of the otlier's wrist, directs him to untie 

 the bag containing red earth, and to take therefrom a portion of the 

 contents, which is deposited in the palm of the priest's left hand. A 

 piece of beef fat follows the red earth in the sarme ceremonial manner 

 and the two .are well mised together between the palms of the priest's 

 hands, while the devotee removes his sliirt and turns so as to face the 

 priest, who is now ready to begin painting. First he smears the red 

 mixture over the breast and arms of the sacrificer who turns about and 

 receives a coating on his back and shoulders. Again he faces the priest 

 who, — always using the palm of his left hand for a palette and his right 

 fingers for brushes, — paints the host's face red, and calls for the next. 

 The wives and children of tlie sacrificer come forward onp at a time, — 

 except when a mother carries a baby, — and thjeir faces are smeared 

 with the mixture. Other relatives and friends of the host bring their 

 children for this part of the ceremony, as many as twenty and thirty 

 people frequently being painted by tlie priest who, from time to time, 

 replenishes his stock of paint, by adding more red earth and grease to 

 his hands. 



Sec. II , 1909. 2. 



