MALLERY.] CEREMONIAL COLORS. 627 
ing attached near the top; the lower part of the upright piece is squared, the side on 
the east being painted white; on the south, green; on the west, red; and on the 
north, black. The white is the source of light facing the direction of the rising sun, 
the green, apparently the source of warmth, rains, and abundance of crops, while 
the north is black, and pertains to the region from which come cold, disease, and 
desolation. The red is placed upon the western side, but there is a diversity of 
opinion regarding its significance. The most plausible theory appears to relate to the 
“road of the dead,” referred to in the ritual of the Ghost Society, as the path upon 
which the departed shadow partakes of the gigantic strawberry which he finds. 
The upper portion of the cross is white, upon which are placed irregularly red spots. 
In the same article is the following account of face coloring in the - 
Mide’ degrees: 
In connection with the colors of the degree posts, there is a systematic arrange- 
ment of facial ornamentation, each style to be characteristic of one of the four de- 
grees, as well as the degree of the Ghost Society. 
According to the White Earth (Minnesota) method, the arrangement is as follows: 
First degree. One red stripe across the face from near the ears across the tip of 
the nose. 
Second degree. One stripe as above and another across the eyes, temples, and 
root of the nose. 
Third degree. The upper half of the face painted green and the lower half red. 
Fourth degree. The forehead and the left side of the face from the outer canthus 
of the eye downward is painted green; four spots of vermilion are made with the 
tip of the finger upon the forehead and four upon the green surface of the left cheek. 
According to Sikassige, a Mille Lacs Midé’ priest, the ornamentation practiced 
during his youth was as follows: 
First degree. A broad band of green across the forehead and a narrow stripe of 
vermilion across the face just below the eyes. 
Second degree. A narrow stripe of vermilion across the temple, eyelids, and the 
root of the nose, a short distance above which is a similar stripe of green, then 
another of vermilion, and above this again one of green. 
Third degree. Red and white spots are daubed all over the face, the spots aver- 
aging three-fourths of an inch each in diameter, 
Fourth degree. Two forms are admissible; in the former the face is painted red, 
with a stripe of green extended diagonally across it from the upper part of the left 
temporal region to the lower part of the right cheek. In the latter the face is painted 
red with two short, horizontal parallel green bars across the forehead, 
Kither of these may be adopted as a sign of mourning by a man whose deceased 
son had been intended for the priesthood of the Grand Medicine Society. 
The religious and ceremonial use of the color red by the New Zea- 
landers is mentioned by Taylor (d): 
Closely connected with religion, was the feeling they entertained for the Kura, or 
Red Paint, which was the sacred color; their idols, Pataka, sacred stages for the 
dead, and for offerings or sacrifices, Urupa graves, chief’s houses, and war canoes, 
were all thus painted. 
The way of rendering anything tapu was by making it red. When a person died, 
his house was thus colored; when the tapu was laid on anything, the chief erected a 
post and painted it with the kura; wherever a corpse rested, some memorial was set 
up, oftentimes the nearest stone, rock, or tree served as a monument; but whatever 
object was selected, it was sure to be made red. If the corpse were conveyed by 
water, wherever they landed a similar token was left; and when it reached its des- 
tination, the canoe was dragged on shore, thus distinguished, and abandoned. When 
the hahunga took place, the scraped bones of the chief, thus ornamented, and wrapped. 
