In addition to all the "squaw men" and "blanket Indians" at the reservation, there came to see us that day quite a number of Cheyennes, our antagonists of the day before. Shrouded in their dark-blue blankets and washed clean of their lurid war-paint, they were by no means imposing. One and all they wanted to see Buffalo Bill, and wherever he moved they followed him with awe-filled eyes. He wore the same dress in which he had burst upon them in yesterday's fight, a Mexican costume of black velvet, slashed with scarlet and trimmed with silver buttons and lace--one of his theatrical garbs, in which he had done much execution before the footlights in the States, and which now became of intensified value. Bill had carefully preserved the beautiful war bonnet, shield and decorations, as well as the arms of the young chieftain Yellow Hand, whom he had slain in single combat, and that winter ('76 and '77) was probably the most profitable of his theatrical career. The incidents of the fight of the 17th and the death of Yellow Hand were dramatized for him, and presented one of the most telling of the plays in which he starred all over the East that season. He realized above all expenses some $13,000 on that one alone, and I fancy that some of your readers may have seen it. For a time it was his custom to display the trophies of that fight in some prominent show-window during the day, and take them away only in time for the performance at night. As an advertisement it drew largely in the West, but when Bill reached the refinements of the Middle States and the culture of New England he encountered a storm of abuse from the press and the clergy which, while it induced him to withdraw "the blood-stained trophies of his murderous and cowardly deeds" from the show-windows, so stimulated public curiosity as to materially augment his receipts.