_Eighth Day_: The dry-painting is finished about three o’clock in the afternoon. After its completion there is a large open-air initiation. To become a full member of the Yébĭchai order one must first be initiated in the hogán; the second initiation is a public one; the third, another inside the hogán; the fourth, another in the open. These different initiation ceremonies, the same in point of ritualism, may be carried over several years. _Ninth and Final Day_: To the average person and to the Indians as a whole the last day is the Yébĭchai dance. From a distance the Indians have been gathering during the two previous days, and the hospitality of the patient’s family, as well as that of all the people living in the neighboring hogáns, is taxed to the utmost. And from early morning until dark the whole plain is dotted with horsemen coming singly and in groups. Great crowds gather at the contests given half a mile from the hogán, where horse-races, foot-races, groups of gamblers, and throngs of Indians riding wildly from race-track to hogán fill the day with hilarity and incidents memorable to all. Toward the end of the day preparation is made for the closing part of the nine-day rite. Great quantities of fuel have been brought from the distant plateau, and placed in many small piles at each side of the smooth dance ground to the east of the hogán. As soon as it is dark the fuel is ignited, making two long lines of camp-fires, furnishing both light to see the dancers and warmth to the spectators, for the Yébĭchai cannot be held until the autumn frosts begin, when the nights have the sharp, keen air of the high altitudes. [Illustration: _Zahadolzhá_ - Navaho] _Zahadolzhá_ - Navaho _From Copyright Photograph 1907 by E.S. Curtis_ This is the last of the dry-paintings used in the Night Chant, being destroyed on the night of the eighth day’s ceremonies. It takes its name from the fact that the principal characters represented in it, the dark figures, are all Zahadolzhá, Fringe-mouth Gods. According to the myth underlying the rite these gods made the first paintings of this sort used among the spirit people, and were the ones who furnished succor to the patients on the eighth day of the nine days’ healing ceremony. The light figures are female deities—haschĕbaád. In the centre is the cornstalk, a life-giving symbol, and partially encircling the whole is the personified light-giving rainbow, a female personage. During the ceremony a man masked as a Zahadolzhá places his hands first upon a part of his likeness pictured in colored earths and then on the corresponding part of the patient, as head, body, and limbs. Later the colored earths or sands are carried away in a blanket and placed under brush or trees toward the north.