STEVENSON] M A ''^KE 7hLAN'NAKWE 507 



which are still near the altar, with the marks indicating eyes and 

 mouth upward, the upper portion of the tree pointing- to the east. At 

 midnight the trees are carried to the roof, and the pinon is placed to 

 the west and the other to the east of the crossbar of the hatchway, 

 the face symbols being to the east, where thej^ remain until the close 

 of the ceremonial on the fifth day. After the trees are placed in 

 position the eight officers of the fraternity stand around them; the 

 flutist plays, the warrior whirls the rhombus, while the "^Hleni'mosona 

 prays and sprinkles meal upon the trees." There is continuous dan- 

 cing and sword swallowing on the second and third days until midnight, 

 and an elaborate display of playing with fire on the third night. The 

 visits of the Sword order to other houses are noted in the *Hle'wekwe 

 ceremonials. 



A drv painting about 2^ feet s([uare is made on the floor and near 

 the altar on the fourth afternoon. The foundation of the painting is 

 the ordinary yellow sand found near the village. Its groundwork is 

 about half an inch in depth. The measurements are made with the 

 right hand, from the tip t)f the thumb to the tip of the second finger 

 and from the tip of the thumb to the tip of the index finger. The four 

 sides of the square are measured in this way. The north line of the 

 square is symbolic of the Ilopi country; the west line, of the Navaho 

 country; the south line, of the Mexican country; the east line, of the 

 Rio Grande country; and the yellow line running through the center, 

 which is of corn pollen, is symbolic of the Zufii country, the heart 

 and center of all. The black coloring is charred corncob mixed with 

 other powdered pigment. The two human figures in the painting- 

 represent Ma'ke'e, the original director of the Great Fire fraternity, 

 and his fellow or younger brother. Zigzag lines extend out from 

 ' each side of the figures, denoting lightning. The war pouch is indi- 

 cated by a diagonal line across the body. A circular spot of corn 

 pollen on the body represents the heart. Eagle-wing feathers are held 

 in the hands. The black lines extending outward below the knees 

 represent garters of blue yarn. Crosses over the surface of the i)aint- 

 ing, with a single grain of corn on each, indicate stars. When the 

 painting is completed it is protected by placing a stone at each corner, 

 upon which pieces of wood are crossed and a white embroidered 

 blanket laid over the wood. 



The painting is uncovered at night by the 'Hlem'mosona after the 

 swords are distributed to their owners, who are grouped before the 

 altar. If a blemish is found on raising the blanket from the painting 

 the *Hlem'mosona says, should it be near the pollen line: "I fear 

 many of my people will die."' If the defect is near another line, then 

 the people of the country indicated ))y the line will die. 



After passing once around the altar the Sword order forms in line. 



"The trees are not referred to as -ik'!!, Imt us ti-sli'kwi (luit ti) l)e touched, «icred). 



