The first sand painting occurred on October 16; it was begun in the early
forenoon and completed at sundown. Common yellowish sand was brought in
blankets. This formed the ground color for the painting. It was laid to
form a square 3 inches in depth and 4 feet in diameter. Upon this three
figures were painted after the manner described of the painting of the
rainbow over the sweat house. Nine turkey wands were placed on the south,
west, and north sides of the square, and a line of meal with four
foot-marks extended from near the entrance of the lodge to the painting.
(See Pl. CXX.)
Hasjelti stands to the north end in the illustration, holding the emblem
of the concentrated winds. The square is ornamented at the corners with
eagle plumes, tied on with cotton cord; an eagle plume is attached to the
head of Hasjelti with cotton cord. The upper horizontal lines on the face
denote clouds; the perpendicular lines denote rain; the lower horizontal
and perpendicular lines denote the first vegetation used by man.
Hasjelti's chin is covered with corn pollen, the head is surrounded with
red sunlight, the red cross lines on the blue denote larynx; he wears ear
rings of turquoise, fringed leggings of white buckskin, and beaded
moccasins tied on with cotton cord. The figure to the south end is
Hostjoghon; he too has the eagle plume on the head, which is encircled
with red sunshine. His earrings are of turquoise; he has fox-skin ribbons
attached to the wrists; these are highly ornamented at the loose ends with
beaded pendants attached by cotton strings; he carries wild turkey and
eagle feather wands, brightened with red, blue, and yellow sunbeams. The
center figure is one of the Hostjobokon, and upon this figure the invalid
for whom the ceremonial is held sits. The four footprints are made of
meal. These the invalid steps upon as he advances and takes his seat, with
knees drawn up, upon the central figure. After dark the invalid walked
over the line of meal, being careful to step upon the footprints in order
that his mental and moral qualities might be strengthened. The invalid
removed his clothing immediately after entering the lodge; he had downy
breast feathers of the eagle attached to the scalp lock with white cotton
cord; he advanced to the painting and took his seat upon the central
figure. An attendant followed him, and with his right hand swept the line
of meal after the invalid, removing all traces of it. The entrance of the
invalid into the lodge was a signal for the song-priest to open the chant
with the rattle. Hasjelti and Hostjoghon bounded into the lodge hooting
wildly. The former carried the square (the concentrated winds), which he
placed over the sick man's head. Hostjoghon carried a turkey wand in each
hand, and these he waved over the invalid's head and hooted; this was
repeated four times, and each time the gods ran out of the lodge. Hasjelti
wore a velvet dress, but Hostjoghon's body was nude, painted white. This
wild, weird ceremony over, the sick man arose and the song-priest gathered
the turkey wands from around the painting, while an attendant erased it by
rubbing his hands over the sand to the center. The sands were gathered
into a blanket and carried out of the lodge and deposited some distance
away from the lodge, where the sun could not generate the germ of the
disease. The sand is never touched by any one when once carried out,
though before the paintings are erased the people clamor to touch them,
and then rub their hands over their own bodies that they may be cured of
any malady. The invalid, after putting on his clothes, returned to his
family lodge. A group then gathered around the spot where the paintings
had been and joined in a weird chant, which closed the fifth day's
ceremony.
[Illustration]