STEVENSON. ] EIGHTH DAY. 265 
The painting was obliterated in the usual manner and the sand carried 
out and deposited at the base of a pifion tree some 200 yards from the 
lodge. 
EIGHTH DAY. 
The grinding of the paint began at daylight, and just at sunrise the 
artists commenced their work. When any mistake occurred, which 
was very seldom, it was obliterated by sifting the ground color over it. 
Each artist endeavored to finish his special design first, and there was 
considerable betting as to who would succeed. The rapidity with which 
these paints are handled is quite remarkable, particularly as most of 
the lines are drawn entirely by the eye. After the completion of the 
painting, each figure being three and a half feet long, corn pollen was 
sprinkled over the whole by the song priest. (See illustration, PL. 
OXXII1.) 
The corn stalk in the picture signifies the main subsistence of life; 
the square base and triangle are clouds, and the three white lines at the 
base of the corn stalk denote the roots of the corn. The figures of this 
picture are each 34 feet in length. These are the Zenichi (people of the 
white rock with a red streak through it) and their wives Their homes 
are high in the canyon wall. The black parallelogram to the west of 
the painting designates a red streak in the rock in which are their 
homes. The delicate white lines indicate their houses, which are in the 
interior or depths of the rock, and can not be seen from the surface. 
This canyon wall is located north of the Ute Mountain. These people of 
the rocks move in the air like birds. The red portion of the bodies of 
the Zenichi denote red corn; the black portion black clouds. The red 
half of the face represents also the red corn; the blue of the bodies of 
the others denote vegetation in general, and the yellow, pollen of all 
vegetation. The zigzag lines of the bodies is lightning; the black lines 
around the head, zigzagged with white, are cloud baskets that hold red 
corn, which is stacked in pyramidal form and capped with three eagle 
plumes. There are five feathers of the red and black shafted flicker 
(Colapleo cafer) on either side of the head. A lightning bow is held 
in the left hand, the right holds a rattle ornamented with feathers. 
The females carry in their hands decorated baskets and sprigs of pi- 
fon, and they wear white leggings and beaded moccasins. The Zenichi 
never dance. These gods are also called Zaadoljaii, meaning rough 
mouth, or anything that protrudes roughly from the mouth. (The mouth 
and eyes of these gods protrude.) The rainbow goddess is represented 
at the north and south end of the painting. The corn stalk has two ears 
of corn, while the original stalk had 12 ears. Two of these ears the gods 
gave to the younger brother of the Tolchini when they commanded him 
to return to the Navajo and instruct them how to represent the gods in 
sand painting and in masks. The four corner figures will be recognized 
as the Naashiddi (hunchback, or mountain sheep). 
