ole supervision of
one grand master of ceremonies. This worthy was the head medicine of the
nation, and was looked up to with a species of veneration verging upon
adoration. The rites were to be inaugurated by a grand dance in the open
air. The ground selected for this performance was immediately in front
of the medicine lodge, and embraced an area of about half an acre.
Previous to the inception of the ceremonies, a number of the women were
set at work with large wooden mallets, pounding the turf, which was done
in order to make the ground hard, smooth and level. As soon as this was
accomplished, a curb was erected in the centre of the space by driving
stakes in the ground in the form of a circle, just leaving sufficient
space between each one to admit of a free passage of air. The curb rose
to a height of about three feet, the top being covered by stretching a
buffalo robe over the stakes. Within this enclosure was placed a small
stone altar, on which burned the sacred flame. Under no circumstances
was the flame allowed to be extinguished. In the event of its ceasing to
burn, it would have been considered an ill omen, and in order to
propitiate the Good Spirit, it would have become necessary to sacrifice
a female captive.

All was now in readiness, and on the following morning Mahtocheega and
the chiefs of the nation assembled in the medicine lodge preparatory to
commencing the "death dance." Sixteen young men participated in the
dance. They stood to one side in a group, isolated from the crowd. They
were decked out in the most gorgeous trappings, each one personating
some animal which they imitated as closely as possible, both in action
and sound.

Beginning by circling around the curb in a measured tramp to the sound
of the Indian drums and rattles, they gradually accelerated their pace
until they were going at full speed, meanwhile indulging in the most
frightful yells, groans, whoops, and cries. This was kept up without
intermission for, perhaps, fifteen minutes, when the medicine man
sounded a shrill blast on his whistle, and, as if by magic, the
performers dropped upon "all fours" and began to practice the
distinctive peculiarity of the animals they personated. Their actions
were a source of considerable amusement to the bystanders, and each
actor was applauded vociferously when by some particular gesture, or
trick, he faithfully portrayed the habits of the animal he represented.
Some of these actions were of