264 NAVAJO CEREMONIAL OF HASJELTI DAILJIS. 
were now quite thickly gathered over the mesa to witness the closing 
ceremonies. The mesa top for a mile around was crowded with Indians, 
horses, Sheep, and hogans (lodges); groups of 5 to 20 Indians could be 
seen here and there gambling, while foot and horse racing were features 
of special interest. Indeed, the people generally were enjoying them- 
selves at the expense of the invalid. The rainbow goddess, Nattsilit, 
surrounding the painting, was about 25 feet in length. Upon the com- 
pletion of the painting the song-priest sprinkled the figures with pollen 
as before described and planted the feather wands around the pictures. 
In the illustration of this painting, Pl. cxxi, Hasjelti will be recog- 
nized as the leader. He carries a fawn skin filled with sacred meal; 
the spots on the skin are seven and in the form of a great bear. The 
fawn skin indicates him as the chief of all game. It was Hasjelti who 
created game. The first six figures following Hasjelti are the Ethsethle. 
The next six figures are their wives. Toneennili, the water sprinkler 
(to, water, and yonily, to sprinkle), follows carrying a water jug, from 
which he sprinkles the earth. The Ethsethle wear leggings of corn pol- 
len and the forearms of the gods are covered with pollen. Their wives 
have their arms and bodies covered with the same. The skirts of the 
Ethsethle are elaborately ornamented and their pouches at their sides 
are decorated with many beads, feathers, and fringes. The gods are 
walking upon black clouds and mist (the yellow denoting mist, the 
women upon blue clouds and mist. 
During the ceremony an Apache basket containing meal was brought 
in and placed at the feet of the rainbow goddess. The invalid entered 
the lodge, which had become quite filled with privileged spectators, and 
receiving the basket of meal, sprinkled the figures from left to right; 
he then removed all his clothing except his breech cloth and stood east 
of the painting. Hostjoghon stepped to the head of the rainbow god- 
dess and taking the small gourd of medicine water dipped the cedar 
twig into the water and sprinkled the figures, then touched the twig to 
the feet, heart, and head of each figure, commencing at the male figure 
to the north and passing south, then beginning with the female figures 
to the north and passing south. The invalid took his seat in the center 
of the painting with his knees drawn to his chin. Hostjoghon held the 
medicine gourd over each figure and passed it to the invalid, who took 
four sips, Hostjoghon hooting each time he passed the gourd to the in- 
valid. After returning the gourd and twig to their former position he 
placed the palns of his hands to the feet and head of each figure and 
then placed his palms on the corresponding parts of the invalid’s body, 
and pressed his head several times between his hands. After touching 
any part of the invalid, Hostjoghon threw his hands upward and gave 
one of his characteristic hoots. The song-priest placed coals in front of 
the invalid and herbs upon them as he had done the day before, and 
then retired. The coals were afterwards thrown out of the fire opening 
and the crowd rushed to the painting to rub their bodies with the sand. 
