At 11.30 a. m. Soyókmana, Hahaíwüqti, and the Natáckas (plate CVI) made a visit to all the houses. They were followed by two Hehéakatcinas[78] with bags and pouches of food recently received, and after them followed three black and two white Natáckas. These five went together and were constantly in motion, moving or beating time with their feet. The strange company went to each house demanding food, and when it was refused or poor quality offered the Natáckas uttered a hoot like an owl, and at the same time Soyókmana whistled. They refused to leave a house until proper food had been given them, and if a child who had not been ceremonially flogged appeared with the mother its eyes were shaded by the mother’s hand while she presented food to the Natáckas. Between 12 and 1 oclock Íntiwa, assisted by Hoñyi and Letaiyo, finished making twelve sets of cákwa (blue) páhos, most of which were composed of two sticks of uniform diameter, and only one set showed the flat face characteristic of the female. They likewise made twelve nakwákwoci hotomni, consisting of a twig about 2 feet long from which four nakwákwocis depended at intervals, and twelve simple feathered strings. When these were finished Íntiwa placed them in a tray of meal beside the sípapû and brought from the paraphernalia closet of the kiva six ears of corn of different colors, his típoni, two nákwipis and as many aspergills, two or more rattles, and other bundles containing the remaining paraphernalia of the cloud-charm altar. At 1.30 p. m. he placed a small hillock of sand back of the sípapû and deposited his típoni upright upon it; he then made the cloud-charm altar,[79] arranging the corn at the ends of six radial lines of meal in a sinistral circuit, placing two crystals upon each ear of corn except that corresponding to the nadir. The aspergills (makwámpis) also were laid down beside each ear of corn except that which was symbolic of the nadir. The sequence of ceremonials which then took place about this altar was as follows: 1. Ceremonial smoke. 2. Prayers. 3. Liquid poured into the crenelated vessel or nákwipi. 4. Songs. Synopsis of ceremonial events during the songs: (_a_) Meal shaken from the six aspergills into the liquid. (_b_) Whistling into the liquid through a turkey bone, and asperging to the cardinal points with the same, six times in all. (_c_) Meal cast into liquid, on tray of páhos and over the típoni in ceremonial circuit. (_d_) Pollen cast on the same objects in sequence. 5. Prayers. 6. Ceremonial smoke into the liquid with two pipes.