Note 270 — LEGENDS. (continued 3)

Plate VII. represents the personator of the War God, Toʻbadzĭstsíni, or Child of the Water, as he appears in the act of succor described in notes 206 and 269. His body and limbs are painted with a native red ochre; his hands are smeared with white earth; and eight symbols are drawn in his body in white,—two on the chest, two on the arms, two on the legs, and two on the back, partly over the shoulder-blades. As with the bow-symbols of Nayénĕzgạni (note 269), two of the symbols are left open or unfinished,—that on the left leg (painted first) and that over the left shoulder-blade (painted last), to indicate (some say) that the labors of the god are not yet done. Fig. 42 shows the order and direction in which each component line of the symbol must be drawn. The symbols represent a queue, such as the Navahoes now wear (fig. 31). Some say these figures represent the queue of the god’s mother, others say they represent the scalps of conquered enemies; the latter is a more probable explanation. The personator wears a mask painted also with red ochre (all except a small triangular space over the face, which is colored black and bordered with white); and it is decorated both in front and behind with a number of queue-symbols (the number is never the same in two masks, but is always a multiple of four). The mask has a fringe of red or yellow hair, and a cockade of turkey-tail and a downy eagle-feather. The holes for the eyes and mouth are diamond-shaped, and have white shells attached to them. The actor carries in his left hand a small round cylinder of cedar-wood painted red, and in his right a cylinder of piñon painted black. With these, in the scene of succor, he makes motions at the patient and at the lodge. Like his companion, the personator of Nayénĕzgạni, he wears a collar of fox-skin (Vulpes velox); rich necklaces of shell, turquoise, and coral; a skirt or sash of bayeta, or some other rich material; a belt adorned with plaques of silver; and ordinary moccasins. The sacrificial cigarette which he receives is painted red, marked with the queue-symbols, and deposited under a cedar-tree. No dry-painting of Toʻbadzĭstsíni has been seen by the author, and he has been assured that none is made.