The ho´naaite then passing to the north side of the painting stooped with bended knees, holding in his left hand two eagle plumes, and repeated a low prayer; then, taking a small piece of the bread, he dipped it into the stew and scattered it before the fetiches; and, taking more bread and a bit of the meat, he left the ceremonial chamber and threw the food as an offering to the animals of the cardinal points. The ti´ämoni then returned the bowl of meat and basket of bread to the far end of the room. Upon the return of the ho´naaite his vicar spread the Tusayan blanket upon the floor, some 5 feet in front of the painting. He next sprinkled a line of meal from the edge of the blanket nearest the painting to the bear fetich, which stood foremost on the painting; thence across the blanket and along the floor to the entrance on the south side and near the west end of the chamber; again, beginning at the center of the blanket he sprinkled a line of meal across the blanket to the south edge, and beginning again at the center he sprinkled a line of meal to the north edge and continued this line to the north wall. Then beginning at the line ending at the south of the blanket, he ran it out to the south wall (these four lines being symbolic of the four winds), and placed the bowl of meal in front of the painting and north of the line of meal. The meal having become somewhat exhausted, the pottery meal bowl was replaced by an Apache basket, containing a quantity of fresh meal, ground by a woman in an adjoining room, where a portion of the family had already retired. The basket of meal was received from the woman by the ti´ämoni, who stood to her left side while she ground the corn in the ordinary family mill. The remainder of the contents of the pottery meal bowl was emptied into the Apache basket, the portion from the bowl being deemed sufficient in quantity to lend a sacred character to the freshly ground meal. The ho´naaite then fastened about his neck a string of bears’ claws with a small reed whistle, having two soft white eagle plumes tied to the end, attached midway, which he took from a pile of bear-leg skins, having first waved the necklace around the white bear fetich, which stood to the front of the painting. Each member of the society then put on a similar necklace; two of the members fastened amulets around their upper right arms and two around their left arms. The ho´naaite rolled his blanket in a wad and sat upon it. The other members made similar cushions. The ti´ämoni, whose seat was at the south end of the line, crossed to the north side of the room, and taking a bit of red pigment rubbed it across his face and returned to his seat, each member rubbing a bit of galena across the forehead, across the face below the eyes, and about the lower part of the face. The paint was scarcely perceptible. It was put on to insure the singing of the song correctly. The ti´ämoni again crossed the room, and taking from the north ledge