[16] The Southern Cheyenne also charge and count coup on some sticks marking the site of the dance lodge (G. A. Dorsey, _Cheyenne Sun Dance_).

[17] Cf. 83, 109. Mooney, 349.

[18] Scott, 358-360, 365. In this account the hide is taken into a sweatlodge at this juncture.

[19] "Foot-soldiers," Scott, 360-361.

[20] Lowie, 843.

[21] Not by a woman's society as Scott's informant states (361).

[22] Battey, 170.

[23] By the "old women soldiers" according to Scott (361), but Martinez informs me that, with the exception of the dance described by Battey, the two women's societies have no significant part in the sun dance.

[24] The Old Woman society (Lowie, 850).

[25] Battey, 168.

[26] Cf. Lowie, 843.

[27] Battey, 169.

[28] Battey, 170-172. War singing _gwudanke_, was customary before an expedition set out for war (Lowie, 850).

[29] Scott, Pl. XXV.

[30] Evidently a shield of this type was made by Konate, who was instructed to do so by the _tai'me_ which appeared to him as he lay wounded (Mooney, 304).

[31] Lewis notes this custom for the Shoshoni, and Lowie for their medicinemen when treating the sick (Lowie, Northern Shoshone, 213-214).

The Crow do not smoke where their moccasins are hung up, according to Maximilian, (Reise in das innere Nord-America in den Jahren 1832 bis 1834 [Coblenz, 1841], I, 400).

[32] Scott, 373.

[33] Scott, 362.

[34] Martinez puts this performance after the image has been brought into the dance lodge: this does not seem correct.

[35] Battey has the keeper signal to the herd with a firebrand. Neither Battey nor Scott mention a mounted herder; the former puts the pipe in the hands of the keeper, and the latter in those of a third man who remains in the dance lodge, but in Scott's account also the function of the pipe is to force the buffalo to enter the lodge. In Battey's account two men a.s.sist the keeper in designating warriors, and in Scott's three men with straight pipes do it. (Battey, 172-173; Scott, 362-364).

[36] Battey, 173, 176; Scott, 351-352, 367, Pl. XXII; Methvin, 66, notes that his feet are painted black with sage wreaths about his ankles.

[37] Lowie, 843.

[38] Martinez, in Methvin's account, (71), states that the payment is made in four successive years.

[39] Methvin, 71; Scott, 352, states that these men directed the sun dance as subst.i.tutes for the keeper and did the ceremonial painting, but this is contrary to my information.

[40] Compare Mooney, 296.

[41] Battey, 178.

[42] Compare Scott, 352, 368, Pls. XVIII, XXII; Methvin, 70-71.

[43] Battey, 178-179.

[44] Scott, 347.

[45] Battey, 181-182.

[46] Mooney, 302, notes that one of these individuals carried his personal medicine in the dance.

[47] Methvin, 66; Scott, 366.

[48] Battey, 173-177.

[49] Once, not three times a day as Scott states (366).

[50] Scott, 366, places raven fans in hands of the a.s.sociates.

[51] In the ghost dance a shaman hypnotizes the dancers by waving a feather or scarf before their faces. The subject staggers into the ring and falls (Mooney, _Ghost dance_, 925-926). This performance may not be related to that of the Kiowa, since it appeared among the Sioux before the southern Plains tribes took up the ghost dance. On the other hand, the Paiute, from whom the ghost dance was derived, did not hypnotize.

[52] Battey, 177-181.

[53] Scott, 365, 367.

[54] Mooney, _Kiowa Calendar History_, 282, 297, 304, 321, 322. Another suggestive similarity to the Crow is the a.s.sumption of "no-flight"

obligations in both tribes at the sun dance (_Ibid._, 284, 287, 320).