MATTHEWS. ] CEREMONIES: PRAYER AND SACRIFICE. 421 
59. The next part of the ceremonies (or, shall I say, the treatment?) 
was a fumigation. The medicine man took from the fire a large glow- 
ing coal, placed it beside the woman, and scattered on it some powdered 
substance which instantly gave forth a dense smoke and a strong fra- 
grauce that filled the lodge. The woman held her face over the coal 
and inhaled the fumes with deep inspirations. When the smoke no 
longer rose the coal was quenched with water and carried out of the 
lodge by the chief, Manuelito, probably to be disposed of in some estab- 
lished manner. Then the woman left the lodge and singing and rattling 
were resumed. 
90. While the rites just described were in progress some assistants 
were busy with other matters. One made, from the spotted skin of a 
fawn, two bags in which the akaninilis or couriers were to carry their 
meal on the morrow’s journey. Another brought in and hung over 
the doorway a bundle of dry, withered plants which he had just gath- 
ered. Glancing up at them I recognized the Gutierrezia and the Bou- 
teloua. The bundle may have contained the other plants mentioned in 
the myth (paragraph 44). They were hung up there till the next day, 
to be then used in a manner which will be described (paragraph 101). 
91. The sheepskin on which the sacrifices had been placed was taken 
away and a blanket was spread on the ground to reveive some more 
sacred articles from the bag of the chanter. These were five long 
notched wands, some tail feathers of the wild turkey, some small downy 
feathers of the eagle, and some native mineral pigments—yellow ocher, 
a ferruginous black, and a native blue. With the pigments the assist- 
ants painted the notched wands; with the plumes the chanter trimmed 
them. (See Fig. 51 and Plate XI.) Then they were called gobol¢a, a 
word of obscure etymology, or in¢ia‘, which signifies sticking up or 
standing erect. They are called in this paper “‘ plumed wands.” 
92. While some were making the cobolea others busied themselves 
grinding, between stones, large quantities of pigments, coarser than 
those referred to above, to be used in making the sand pictures or dry 
paintings of the ceremony. They made five colors: black, of charcoal; 
white, of white sandstone; red, of red sandstone; yellow, of yellow 
sandstone; and “ blue,” of the black and white, mixed in proper propor- 
tions; of course this was a gray, but it was their only cheap substitute 
for the cerulean tint, and, combined with the other colors on the sanded 
floor, in the dim light of the lodge, it could not easily be distinguished 
from a true blue. It may be remarked in passing that the Navajo 
apply to many things which are gray the term they use for blue (colij); 
thus the gray fox is called mai-colij (blue coyote) and a gray sheep is 
called a blue sheep. Yet that they make a distinction between these 
colors is, I think, fairly evident from the fact that in painting small 
articles, such as kethawns and masks, they use the more costly articles of 
turquoise, malachite, and indigo. These coarse pigments for the dry 
paintings were put tor convenience on curved pieces of pinon bark. 
