The Naaskiddi are to the north and south of the painting; they carry staffs of lightning ornamented with eagle plumes and sunbeams. Their bodies are nude except the loin skirt; their leggings and moccasins are the same as the others. The hunch upon the back is a black cloud, and the three groups of white lines denote corn and 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: Plate CXXI. SECOND SAND PAINTING.] 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 been kept burning near the door, threw them in front of the invalid, who still retained his seat in the center of the painting. The theurgist placed herbs, which he took from a buckskin bag, on the