regalia. The most important ceremonies are the Deerskin dance and the Jumping dance, which are held either annually or biennially, the former always out-doors, the latter at some places out-doors, sometimes in boats, at others in-doors. The purpose of both dances, which where both are practiced are usually given in close succession, is the good of the world. Earthquake and disease are prevented and a food supply insured. Very little of the sacred formulae and accompanying ritual, and nothing in the remainder of the dance, has however any specific reference to this purpose. A third, minor ceremony, the Brush dance, completes the series of public ceremonies in this region, the remaining dances being held only on occasion of war, a girl's puberty, or the initiation of a shaman. Even the Brush dance is not fully of a tribal character, inasmuch as it is performed for the benefit of a single individual, a sick child, although it is participated in by an entire village with the assistance of visitors from others, and though there seems to be a desire to perform the ceremony at least once a year in each of the larger villages.

In Southern California mourning ceremonies are everywhere the most prominent. In the coast region, among the various groups of Mission Indians, initiation ceremonies make up most of the public rituals that are not connected with mourning. In the interior the Mohave possess no initiation ceremonies. In both regions such ceremonies as partake neither of the nature of mourning nor initiation are conspicuous by the prominence of the myth element. They consist essentially of long series of songs, occupying one or more nights in the recital, which recount, in part directly but more often by allusion, an important myth. At times the myth is actually related in the intervals between the songs. In some cases dancing by men or women accompanies the singing, but this is never spectacular and in many cases is entirely lacking. Being only ceremonial recitations of myths, these ceremonies are not attached in their performance to specific localities, and when dancing regalia are used they are of the simplest character; nor is there opportunity for either altar or ritual. The predominance of the mourning element in the ceremonies of this region is further shown by the fact that among some tribes, as the Mohave, these same singing ceremonies, besides being performed independently, are also sung for many hours at every death. The series of songs selected for each individual on this occasion is that with which he is acquainted. In accord with what has been said of the dream as the basis of Mohave religious life, these singing ceremonies are almost always believed by each person to have been dreamed by himself.

CEREMONIAL STRUCTURES AND PARAPHERNALIA.

The ceremonial chamber is also of distinctive character in the three culture areas. In the Central region it is a large, circular, dome-shaped structure, partly underground and with a covering of earth. It serves also as place of assembly and at least at times as sudatory, whence its popular name of sweat-house. In the Northwest the sweat-house is quite small, almost entirely underground, and its roof consists of boards without a covering of earth. It is constantly used for sweating and is the regular sleeping place of all adult males. It is not used for public ceremonies except in the case of the dance initiating shamans. In the South the ceremonial structure is not a house, but either a mere enclosure of brush, as among the Mission tribes, or a simple shade of brush on upright posts, as among the Mohave. This type of ceremonial structure is also found in the southern part of the Central region among the Yokuts.

In the matter of dancing apparel the Northwest differs fundamentally from all the remainder of the state. Some of the most important of the regalia, such as long obsidian knives and albino deerskins, are not worn on the body or used ritually but merely carried for display, being primarily objects of great value. Large forehead-bands entirely covered with brilliant red woodpecker feathers more nearly resemble ordinary dancing apparel, but are also articles of value, the unmounted woodpecker feathers virtually constituting one form of currency. Other objects used in dancing are dresses, cloaks, and head-bands of skin and fur, head-dresses of network, and carefully ornamented plumes and head feathers. All these, while worn on the body, and decorative, also possess considerable commercial value. The drum is not used, the whistle employed at times, and the rattle, which consists of deer hoofs, but sparingly.

In the Central region objects made of feathers greatly predominate over all others, and are mostly made to be worn actually on the body. Head-dresses are particularly conspicuous and of many forms. In the Sacramento and San Joaquin valleys and the adjacent region cloaks of large feathers attached to a network are worn. In the Tulare basin these are replaced by skirts consisting of strings of eagle-down. With these down-skirts are worn large upright head-dresses of crow and magpie feathers. This combination of costume was used also by the Mission Indians in Southern California and by the Washo of Nevada, and at least the head-dress is found as far north as the Sacramento valley. Network caps filled with down, and forehead bands of down, are frequent in various parts. Perhaps the most typical single object of ceremonial apparel is a flat band, usually worn on the forehead, and consisting of the trimmed red quills of the yellow-hammer sewed side by side. This head-band occurs through the whole of Central California and is used also by the tribes east of the Sierra Nevada, in the state of Nevada, and south of Tehachapi pass in Southern California. The large foot drum of the Central region has already been mentioned. Whistles are also used and there are two forms of rattle, one consisting of silk cocoons containing gravel, the other of a split stick. The cocoon rattle is usually associated with the shaman, the clap-stick with dancing.

In the South, especially among the Mission Indians, the dancing apparel, as is evident from the instances already mentioned, is of much the same type as in the Central area. On the Colorado river feather ornaments of the same general character are used, though they are of a simpler type and head-dresses predominate. The whistle is but little used in the South, the drum occasionally, baskets and other objects being chiefly employed for this purpose. The rattle is the all-important musical instrument in this region. It is made most frequently from a gourd or a turtle-shell.

MYTHOLOGY AND BELIEFS.

In mythology a deep-going difference between the three culture areas again appears. The Northwestern mythologies are characterized primarily by a very deeply impressed conception of a previous, now vanished, race, who by first living the life and performing the actions of mankind were the producers of all human institutions and arts as well as of some of the phenomena of nature. Second in importance in the Northwest are myths dealing with culture-heroes more or less of the trickster type familiar from so many other parts of North America.

In Central California there is always a true creation of the world, of mankind, and of its institutions. The conception of the creator is often quite lofty, and tricky exploits or defeats are usually not connected with him. Often there is an antithesis between this beneficent and truly divine creator and a second character, usually the Coyote, who in part coöperates with the creator but in part thwarts him, being responsible for the death of mankind and other imperfections in the world-scheme. In the northern half of the Central region the creator is generally anthropomorphic; if not, he is merged into one personage with the more or less tricky Coyote. In the southern half of the region the creators seem always to be animals with the dignified and wise eagle as the chief. The myths of the Central region not directly concerned with creation are