HZ PICTURE-WRITING OF THE AMERICAN INDIANS. 
in the Canyon Segy. They have been submitted to the most intelligent 
of the old Moki priests, and are said to represent the primitive sun 
priests. They watched for the sunrise every morning and the chief 
sun priest kept a reckoning of the equinoxes. The chief sun priest, a, 
made the daily sacrifices to the sun by scattering consecrated meal 
and singing a prayer to the sun just as it rose. His assistant, b, lit a 
pipe of tobacco at the same time, and exhaled puffs of smoke, one 
toward each of the cardinal points, one to the zenith, and one to the 
nadir. The three other figures are flageolet priests, and the skins of 
different kinds of foxes were attached to their reed flageolets. c¢ played 
to the morning star, typified by the skin of the gray fox. d played to 
the dawn, typified by the skin of the red fox. e played to the daylight, 
typified by the skin of the yellow fox. 
Dr. Franz Boas (e) reported as follows: 
The Tsimshian have four secret societies, which have evidently been borrowed 
from the Kwakiutl, the Olala or Wibalait, No/ntlem, Me‘itla, and Semhalait. 
The candidate is taken to the house of his parents and a bunch of cedar bark is 
fastened over the door, to show that the place is tabooed, and nobody is allowed to 
enter. The chief sings while it is being fastened. In the afternoon the sacred house 
is prepared for the dance. A section in the rear of the house is divided off by means 
of curtains; if is to serve as a stage, on which the dancers and the novice appear. 
When all is ready messengers carrying large carved batons are-sent around to invite 
the members of the society, the chief first. The women sit down in one row, nicely 
dressed up in button blankets and their faces painted red. The chief wears the 
amhalait, a carving rising from the forehead, set with sea-lion barbs and with a 
long drapery of ermine skins; the others, the cedar bark rings of the society. * * * 
The Méitla have a red head ring and red eagle downs, the Nontlem a neck ring 
plaited of white and red cedar bark, the Olala a similar but far larger one, The 
members of the societies receive a head ring for each time they pass through these 
ceremonies. These are fastened one on top of the other. 
Mr. James W. Lynd (d) says: 
In the worship of their deities paint (with the Dakotas), forms an important 
feature. Scarlet or red is the religious color for sacrifices, whilst blue is used by 
the women in many of the ceremonies in which they participate. This, however, is 
not a constant distinction of sex, for the women frequently use red and scarlet. 
The use of paints, the Dakotas aver, was taught them by the gods. Unktehi taught 
the first medicine men how to paint themselves when they worshiped him and what 
colors to use. Takushkanshkan (the moving god), whispers to his favorites what 
colors are most acceptable to him, Heyoka hovers over them in dreams, and informs 
them how many streaks to employ upén their bodies and the tinge they must have. 
No ceremony of worship is complete without the wakan or sacred application of 
paint. The down of the female swan is colored scarlet and forms a necessary part 
of sacrifices. 
Wiener (d) gives a description of Peruvian ceremonies, with an illus- 
tration reproduced here as Fig. 720. 
The paintings on this vase, found by Dr. Macedo in the excavations at Pachacamac, 
show the principal pragtices of the exoteric worship of the sun. In this painting there 
are three entirely distinct groups. The central one is composed of the solar irage 
surrounded by nine rays, terminating in symbols of fecundity. Two men place lat its 
right and left seem to play on pandean pipes. The group on the left is formed of four 
individuals, two of whom have head-dresses of royal feathers. This group is perform- 
