STEVENSON. ] SIXTH DAY. 261 
(the concentrated winds), which he placed over the sick man’s head. 
Hostjoghon carried a turkey wand in each hand, and these he waved 
over the invalid’s head and hooted; this was repeated four times, and 
each time the gods ran out of the lodge. Hasjelti wore a velvet dress, 
but Hostjoghon’s body was nude, painted white. This wild, weird cere- 
mony oyer, the sick man arose and the song-priest gathered the turkey 
wands from around the painting, while an attendant erased it by rub- 
bing his hands over the sand to the center. The sands were gathered 
into a blanket and carried out of the lodge and deposited some distance 
away from the lodge, where the sun could not generate the germ of the 
disease. The sand is never touched by any one when once carried out, 
though before the paintings are erased the people clamor to touch 
them, and then rub their hands over their own bodies that they may be 
cured of any malady. The invalid, after putting on his clothes, returned 
to his family lodge. A group then gathered around the spot where the 
paintings had been and joined in a weird chant, which closed the fifth 
day’s ceremony. 
SIXTH DAY. 
Preparations for a great sand painting began at daylight. Sand for 
the ground work was carried in in blankets; the fire which had burned 
through the previous ceremonies was first removed and all traces of it 
covered with sand. As the artists were to begin the painting with the 
center of the picture only a portion of the ground color was laid at 
first, in order to enable them to work with greater facility. While the 
ground color was being laid a man sat on one side of the lodge grind- 
ing with a metate and mixing the colors. A quantity of coals were 
taken from the exhausted fire from which to prepare black paint. A 
small quantity of red sand was mixed with the charcoal to give it body 
or weight. The colors used in this sand painting have all been referred 
to in the description of the rainbow over the sweat house. After the 
central portion of the ground work for the painting was smoothed off a 
Jerusalem cross was drawn in black. The eye usually was the only 
guide for drawing lines, though on two occasions a weaving stick was 
used. As a rule four artists were employed, one beginning at each 
point of the cross. Each arm of the cross was completed by the artist 
who began the work. For illustration of painting see Pl. CXxx1. 
The black cross-bars in the illustration denote pine logs; the white 
lines the froth of the water; the yellow, vegetable débris gathered by 
the logs; the blue and red lines, sunbeams. ‘The blue spot in center of 
cross denotes water. There are four Hostjobokon with their wives the 
Hostjoboard; each couple sit upon one of the cross arms of the logs. 
These gods carry in their right hands a rattle, and in their left sprigs 
of pinon; the wives or goddesses carry pinon sprigs in both hands; the 
rattle brings male rains, and the pion, carried by the women, female 
rains; these rains meet upon the earth, conceive and bring forth all 
