other seeds of vegetation.
Five eagle plumes are attached to the cloud backs (eagles live with the
clouds); the body is surrounded with sunlight; the lines of red and blue
which border the bunch upon the back denote sunbeams penetrating storm
clouds. The black circle zigzagged with white around the head is a cloud
basket filled with corn and seeds of grass. On either side of the head are
five feathers of the red shafted flicker (_Colaptes cafer_); a fox skin is
attached to the right side of the throat; the mountain sheep horns are
tipped with the under tail feathers of the eagle, tied on with cotton
cord. The horns are filled with clouds. The rainbow goddess, upon which
these gods often travel, completes the picture.

[Illustration]

Upon completion of the painting the song-priest, who stood to the east of
it holding in his hand a bag of sacred meal, stepped carefully between the
figures, sprinkling pollen upon the feet and heart of each. He then
sprinkled a thread of pollen up each cheek and down the middle of the face
of the figures, afterwards extending his right hand toward the east. The
face of the encircling rainbow goddess was also sprinkled. The song-priest
placed the sacred wands around the rainbow, commencing on the west side of
the painting, and repeated a prayer, pointing his finger to the head of
each figure. He also placed a small gourd of medicine water in the hands
of the rainbow goddess and laid a small cedar twig on the gourd. The
invalid upon entering the lodge was handed an Apache basket containing
sacred meal, which he sprinkled over the painting and placed the basket
near the feet of the rainbow goddesses; the song-priest and choir sang to
the accompaniment of the rattle. A short time after the entrance of the
invalid Hasjelti appeared, and taking the evergreen from the gourd dipped
it into the medicine water and sprinkled the feet, heart, and heads of the
sand figures, after which the invalid sat in the center of the cross.
Hasjelti gave him a sip of the sacred water from the gourd and returned
the gourd to its place; then he touched the feet, heart, and head of each
figure successively with his right hand, each time touching the
corresponding parts of the body of the invalid. Every time Hasjelti
touched the invalid he gave a weird hoot. After he had been touched with
sands from all the paintings the theurgist, selecting a few live coals
from a small fire which had