The final decoration of masks with ribbons, plumes, etc., began at sunrise and consumed most of the morning. About noon two sticks 1 inch in diameter and 6 inches long were colored; one, of piñon, was painted black, the other, of cedar, was colored red. Three medicine tubes were made, one black, one red, and one blue. These were placed in a basket half filled with meal; the basket stood in the niche behind the song-priest. Two men personated Naiyenesgony and Tobaidischinni. Naiyenesgony’s body was painted black (from the embers of a burnt weed of which specimens were procured) and on the outside of his legs below the knee, on the upper arms, breast and scapula were bows in white but without arrows. Tobaidischinni had his body painted with the scalp knot in white in relative positions to the bows on Naiyenesgony. A third man, personating the turquois hermaphrodite Ahsonnutli, wore the usual squaw’s dress with a blanket fastened over the shoulders reaching to the ground. Her mask was blue. The three left the lodge carrying their masks in their hands. Passing some distance down the avenue to the east they put on their masks and returned to the lodge. A buffalo robe had been spread in front of the lodge. Just as the maskers returned, the invalid, wrapped in a fine red Navajo blanket and bearing a basket of sacred meal, stepped upon the robe; he had before stood in front of the lodge by the side of the song-priest. The many spectators on foot and horseback clad in their rich blankets formed a brilliant surrounding for this ceremony, which took place just at the setting of the son. Naiyenesgony carried in his right hand a large lava celt which was painted white. Tobaidischinni followed next carrying in his right hand the black wood stick which had been prepared in the morning, and in his left hand the red stick. Ahsonnutli followed with bow and arrow in the left hand and an arrow in the right with a quiver thrown over the shoulder.