All these headdresses were made of slats of the Spanish bayonet, unpainted, excepting that on number two was a figure in black, which could not be made out, and that the horizontal crosspieces on number three were painted blue. The dominos or masks were of blackened buckskin, for the two fastened around the neck by garters or sashes; the neckpiece of number three was painted red; the eyes seemed to be glass knobs or brass buttons. These three dancers were naked to the waist, and wore beautiful kilts of fringed buckskin bound on with sashes, and moccasins reaching to the knees. In this guise they jumped into the center of the great circle of spectators and singers and began running about the fire shrieking and muttering, encouraged by the shouts and the singing, and by the drumming and incantation of the chorus which now swelled forth at full lung power. THE SPIRIT OR GHOST DANCE HEADDRESS. As the volume of music swelled and the cries of the on-lookers became fiercer, the dancers were encouraged to the enthusiasm of frenzy. They darted about the circle, going through the motions of looking for an enemy, all the while muttering, mumbling, and singing, jumping, swaying, and whirling like the dancing Dervishes of Arabia. Their actions, at times, bore a very considerable resemblance to the movements of the Zuñi Shálako at the Feast of Fire. Klashidu told me that the orchestra was singing to the four willow branches planted near them. This would indicate a vestige of tree worship, such as is to be noticed also at the sun dance of the Sioux.