168 INDIANS OF TlIK SOUTHWEST. 



sun on the palm of liis luind witli four beams streaming 

 toward liis fingers and four more toward his WTist. 

 This painting he appUes four times to the crown of the 

 girl's head. He then paints four lines outward from the 

 corners of her mouth and puts yellow pollen on her 

 forehead. The priest paints the w^omen and children 

 present with red on the right side of their faces, the 

 soles of their feet, and their breasts, and dusts pollen 

 on their left cheeks. 



With appropriate songs the priest then conducts the 

 girl out of the lodge toward the east w^here a buffalo 

 robe is spread. On this he paints four footprints in 

 pollen and four in red ochre. The girl ha\ing stepped 

 on these, runs first around a basket filled with feathers 

 w^hich are presented to her by attendant girls and then 

 to an indicated bush or tree in the distance. 



While this ceremony is primarily for the benefit of 

 the girl, securing for her a happy, useful, and honorable 

 life, it is intended to bring good fortune to the entire 

 community. The songs sung show how greatl}^ the 

 feeling for number and balance accentuated by refer- 

 ences to certain colors and contrasted qualities has 

 pervaded Southwestern ceremonials. The following 

 song is sung when the poles forming the frame of the 

 lodge are tied together. 



Nayenezganin's male lod^e-poles of blue are tied with a sunbeam. 



IsdjanaLijn's female lodge-poles of white are tied with a rainbow, 



The second time they are placed together. 



Nayenezganin's male lodge-poles of yellow are tied with a sunbeam, 



The third time they are placed together. 



IsdjanaLijn's female lodge-poles of black are tied with a rainljow. 



The fourth time they are placed together. 



