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] SIXTH DAY. Preparations for a great sand painting began at daylight. Sand for the ground work was carried in in blankets; the fire which had burned through the previous ceremonies was first removed and all traces of it covered with sand. As the artists were to begin the painting with the center of the picture only a portion of the ground color was laid at first, in order to enable them to work with greater facility. While the ground color was being laid a man sat on one side of the lodge grinding with a metate and mixing the colors. A quantity of coals were taken from the exhausted fire from which to prepare black paint. A small quantity of red sand was mixed with the charcoal to give it body or weight. The colors used in this sand painting have all been referred to in the description of the rainbow over the sweat house. After the central portion of the ground work for the painting was smoothed off a Jerusalem cross was drawn in black. The eye usually was the only guide for drawing lines, though on two occasions a weaving stick was used. As a rule four artists were employed, one beginning at each point of the cross. Each arm of the cross was completed by the artist who began the work. For illustration of painting see PL CXXI.