Then I went to White Grass, the medicine man, who was shrewd and more resourceful. He was not willing to paint the otter design, but found a way out of the difficulty. He proposed my using the Pine Tree, saying he could paint that design, because he had dreamed it himself while sleeping under a pine tree in the mountains. So White Grass painted my lodge and made it into the Pine Tree Tepee. It had a black top for the night sky, the Morning Star in blue, also the constellations of the Great Bear and the Pleiades on both sides. At the bottom was a red band for the earth, on which were white discs for fallen stars, triangular projections for mountains and a yellow pine-cone at the back to symbolize the Pine Tree. I also had a small traveling-lodge, which my friend Big Eyes gave me because I was kind to his children. It was decorated with pictures of both war and hunting—events which had happened in his own career. There were figures of men and animals and Indian camps in colors, red, yellow, and black, an attack by a band of hostile Sioux, a hand-to-hand conflict of Big Eyes with the chief of the Sioux, also battles with Cree Indians and with the Crows, and an attack they made on a settlement of white men. On the north side of my traveling-lodge was the picture of a fight, which Big Eyes had with a band of five grizzly bears in the Rocky Mountains—a mother bear with two large cubs and two other grizzlies. In one of the scenes he was plunging his knife into the breast of the mother grizzly, and in another she was tearing him with her teeth and claws; and then she left him for dead to attack his horse. Two of the most prominent tepees on the inner circle were the Yellow Buffalo and Black Buffalo—the oldest of all the Painted Tepees; and they were believed to have the greatest supernatural power; their bundles and the secrets of their ceremonies had been handed down through many years. Their founders were two warriors, who once looked down into a river and saw two lodges with decorations. Both had black tops, on which were white discs for stars, and a black band round the bottom with fallen stars; each had a pair of buffaloes painted about the center, using yellow for one tepee and black for the other, and the skins of buffalo calves for door-flaps. Their rituals were associated with power to call the buffalo in time of need or starvation. There were taboos against allowing dogs to come inside, the fire must not die out, the door must not be allowed to stand open, nor should any one strike the side of the tepee.