called the cacique, who, besides being the oracle of the tribe, is their temporal as well as spiritual ruler. No outward personification of their Divine Being is made use of; but, entering their estufas (temples) with a bueno corazon (good heart), they simply pray for some blessing, looking to no visible object as a medium of intercession between themselves and their God. Although for a time they outwardly observed the religious teachings of their conquerors, inwardly they maintained the belief of their race in the infallibility of their traditions, and soon repudiated the creed pressed upon them, returning to the worship of the source of light—the sun—as their only true God. But not only here were the Jesuits expelled; they were also driven out from the pueblos of Jemez, Acoma, and Saguna, as the ruins of the churches testify. However, at a few points the Jesuits still hold sway, as, for instance, with the Isletta Pueblos on the Rio Grande, while with the Mexicans of New Mexico the Jesuits are everywhere in full power. In times of great drought, and during festivals, the cacique orders the celebration of the cachina, a sacred dance. Fortunately, it being a holiday with them at the time of our visit, the rare opportunity was afforded us of witnessing this unique, interesting, and most beautiful though heathenish custom, of which a sketch was made on the spot. Some twenty-seven persons were engaged in the ceremony. When first seen, the participants were standing in a row, their faces toward the sun; they were gayly dressed, as will be evident from the description of the three styles of costume worn on the occasion, and represented in the engraving.
No. I. represents a dancer—costume, light-blue mask, horse-hair beard, necklace of black wool and beads, wreath of hemlock as a waistband; short white skirt, with fancy border, held at the waist by a green and black sash, to which was attached a bunch of long, white strings, hanging to the ground along the left leg; a land-turtle's shell, pendent from the left garter below the knee, contained pebbles which served a purpose similar to the castanet of the Spanish dancer; hemlock around the ankles, yellow eagle-feathers in the hair, and a fox-skin suspended from the waistband, complete the make-up.
No. II. represents the captain, who was attired thus: Yellow eagle-plumes in the hair; blue tunic, white under-garment, with fancy sidepiece inserted, and blue stockings; in one hand a staff was carried, the other holding a vessel containing flour.
No. III. represents a female dancer (character taken by male); costume, a white serape, with black border interwoven with fancy colors, and a blue gown; otherwise, the attire was that of No. I.
The male dancers stand in a row, the female (males assuming the character) facing them and chanting a low, solemn strain, keeping time with the right foot. In the intervals between the songs, the leader scatters flour to the four winds to appease the anger of their Divine Being, and induce him to send water from heaven. December
