The first of the four dry-paintings used in conducting the Kléjĕ Hatál, or Night Chant, of the Navaho, being made on the fifth night. The purpose of this night’s acts is to frighten the patient; hence the name of the painting, which signifies "Frighten Him On It." The encircling figure represents the rainbow, _aklólh_; the first on the left Hasché̆ltĭ, Talking God; the central, Haschĕbaád, goddess—symbolically the patient—and the right-hand figure a male deity, Haschĕbakú̆n. The patient sits on the central figure at its waist line during the night’s performance. When the ceremony in connection with this painting is concluded the colored sands are carefully collected, carried out toward the north, and deposited under a tree. _Third Day_: It is understood that the patient has been sweated in the morning, as on the second day. On this night he is dressed in spruce boughs by the assisting medicine-man, bound around the wrists, arms, ankles, legs, and body, and fastened on the head in the form of a turban. After several songs, Nayé̆nĕzganĭ and Tobadzĭschí̆nĭ cut the boughs from the body, using a stone arrow-point as a knife. Then the boughs are cut into fragments over the patient’s head, after which the singer takes a feather wand, points it toward the four cardinal points above the fire, and brushes the patient, chanting meanwhile. At the end of the brushing he points the wand out of the smoke-hole, at the same time blowing the dust from it out into the open air. _Fourth Day_: The ceremonies this day do not begin until later than usual, probably nine o’clock. Hasché̆ltĭ and Haschĕbaád dress and go out. The patient disrobes and takes his place. The assisting medicine-man digs a small hole just between the patient’s feet, and encircles it with a line of _tádĭtĭn_, or pollen, leaving an opening to the east, after which the patient dons a mask. Hasché̆ltĭ enters, followed by Haschĕbaád, who carries a small spruce tree. The former puts sacred pollen in the hole four times, each time giving his call; then Haschĕbaád plants the tree in the hole and fastens its top to the patient’s mask; the mask is then pulled off the patient’s head by his jerking quickly away from the tree. This is the first night in which the ceremonies are continued until dawn. After the unmasking, the singers take their place at one side of the back of the hogán and begin singing to the accompaniment of a basket drum. A youth and a maiden are required to sit in the hogán throughout the fourth night, the ritual requiring that these be persons who have not had sexual knowledge.