_Fifth Day_: This is the last day of the sweating, and the day on which the first dry-painting is made. Just at dark this painting, a small one, is begun inside. In size it would square about four feet, and is placed close to the back of the hogán. There are three figures in the painting: the central one being the patient, the one to the left Hasché̆ltĭ, the one to the right Haschĕbakú̆n. Around this painting, at all sides except the eastern, feather wands, _ndiá_, are stuck in the ground; in this case twelve in number. Foot-tracks are made in the sand with white meal. Hasché̆ltĭ and Haschĕbakú̆n dress ceremonially, mask, and go out, after which the patient enters and takes his position on the central figure of the dry-painting, facing the east. The effort this night is to frighten the patient and thus banish the evil spirits from his body. The two maskers come running in, uttering weird, unearthly howls, in which every spectator in the hogán joins, feigning great fear. The masked figures make four entries, each like the other. In many cases the patient either actually faints from fright or feigns to do so. The patient then leaves the dry-painting and it is destroyed. None of the sand or other pigments used in this painting is applied to the patient’s body, as is done with that of later paintings. The next part of the fifth night’s ceremony is the initiation of new members into the Yébĭchai order. No one who is not a member of the order is allowed to enter the ceremonial hogán. At the time of the initiation Hasché̆ltĭ and Haschĕbakú̆n are outside in the darkness. The initiates enter and sit on the ground in a row—the males naked, the women dressed in their ordinary mode. They dare not look up, for should they see Hasché̆ltĭ before being initiated, they would become blind. One at a time these novices take their place in the centre of the hogán and the initiatory rite is performed over them. [Illustration: _Shĭlhné’ohlĭ_ - Navaho] _Shĭlhné’ohlĭ_ - Navaho _From Copyright Photograph 1907 by E.S. Curtis_ In this plate is pictured the second dry-painting employed in the Night Chant, made on the sixth day of the ceremony. It represents crossed logs which whirl around in a mythic lake. Upon them are alternately seated male and female deities, singing. The light figures are goddesses, _haschĕbaád_; the dark ones gods, _haschĕbakú̆__n_. Their songs treat of all life-giving plants, of which corn, beans, squashes, and tobacco, the most important, are pictured as growing from the very centre of the lake, the point of contact of the logs.