The first business of the day was the preparation of an elaborate sand
picture, and though the artists worked industriously from dawn, it was not
completed until after 3 o'clock. The paint grinder was kept busy to supply
the artists. It was observed that in drawing some of the lines the artists
used a string of stretched yarn instead of the weaving stick. When five of
the figures had been completed, six young men came into the lodge, removed
their clothes, and whitened their bodies and limbs with kaolin; they then
left the lodge to solicit food from the people, who were now quite thickly
gathered over the mesa to witness the closing ceremonies. The mesa top for
a mile around was crowded with Indians, horses, sheep, and hogans
(lodges); groups of 3 to 20 Indians could be seen here and there gambling,
while foot and horse racing were features of special interest. Indeed, the
people generally were enjoying themselves at the expense of the invalid.
The rainbow goddess, Nattsilit, surrounding the painting, was about 25
feet in length. Upon the completion of the painting the song-priest
sprinkled the figures with pollen as before described and planted the
feather wands around the pictures.
In the illustration of this painting, Pl. CXXIII, Hasjelti will be
recognized as the leader. He carries a fawn skin filled with sacred meal;
the spots on the skin are seven and in the form of a great bear. The fawn
skin indicates him as the chief of all game. It was Hasjelti who created
game. The first six figures following Hasjelti are the Ethsethle. The next
six figures are their wives. Toneennili, the water sprinkler (_to_, water,
and _yonily_, to sprinkle), follows carrying a water jug, from which he
sprinkles the earth. The Ethsethle wear leggings of corn pollen and the
forearms of the gods are covered with pollen. Their wives have their arms
and bodies covered with the same. The skirts of the Ethsethle are
elaborately ornamented and their pouches at their sides are decorated with
many beads, feathers, and fringes. The gods are walking upon black clouds
and mist (the yellow denoting mist), the women upon blue clouds and mist.
During the ceremony an Apache basket containing meal was brought in and
placed at the feet of the rainbow goddess. The invalid entered the lodge,
which had become quite filled with privileged spectators, and receiving
the basket of meal, sprinkled the figures from left to right; he then
removed all his clothing except his breech cloth and stood east of the
painting. Hostjoghon stepped to the head of the rainbow goddess and taking
the small gourd of medicine water dipped the cedar twig into the water and
sprinkled the figures, then touched the twig to the feet, heart, and head
of each figure, commencing at the male figure to the north and passing
south, then beginning with the female figures to the north and passing
south. The invalid took his seat in the center of the painting with his
knees drawn to his chin. Hostjoghon held the medicine gourd over each
figure and passed it to the invalid, who took four sips, Hostjoghon
hooting each time he passed the gourd to the invalid. After returning the
gourd and twig to their former position he placed the palms of his hands
to the feet and head of each figure and then placed his palms on the
corresponding parts of the invalid's body, and pressed his head several
times between his hands. After touching any part of the invalid,
Hostjoghon threw his hands upward and gave one of his characteristic
hoots. The song-priest placed coals in front of the invalid and herbs upon
them, as he had done the day before, and then retired. The coals were
afterwards thrown out of the fire opening and the crowd rushed to the
painting to rub their bodies with the sand. The painting was obliterated
in the usual manner and the sand carried out and deposited at the base of
a piñon tree some 200 yards from the lodge.
[Illustration]