they are freshly painted, and the collars and plumes are added just before they are to be used in the ceremony.
105. Plates IV. and VII. show the masks as they are actually worn, and exhibit men as they are dressed and painted to represent the War Gods. In plate I. we get representations of these masks as they are depicted in the dry-paintings. Fig. 27 shows the mask of Hastséyalti, the Talking God, as it appears when all is ready for the dance, with plume and collar of fresh spruce twigs applied. Fig. 28 depicts the mask of a yébaad, or female yéi. The female masks cover only the face, leaving the hair free. The male masks (fig. 27) cover the entire head, concealing the hair.
106. When a man is dressed in his godly costume he does not speak; he only makes motions and utters a peculiar cry,—each god has his own special cry,—and he may perform acts on the patient with his special weapon or talisman. The masquerader, they say, is, for the time being, no longer a Navaho, but a god, and a prayer to him is a prayer to a god. When he enters the lodge and sits down before the sick man, the latter hands him his sacrifice and prays to him devoutly, well knowing that it may be his own uncle or cousin, disguised in the panoply of divinity, who receives the sacrifice.
.jpg)
Fig. 27. Mask of Hastséyalti.
