sacks over their heads, with two holes for the eyes. Some were as naked
as your hand, with horns or feathers on their heads, their bodies painted
white, and their faces black as devils. Others were daubed with red,
black, and white. In short, every one decked himself as extravagantly as
he could, to dance in this ballet, and contribute something towards the
health of the sick man." [ Relation des Hurons, 1636, 116. ] This remedy
also failing, a crowning effort of the medical art was essayed. Brebeuf
does not describe it, for fear, as he says, of being tedious; but,
for the time, the village was a pandemonium. [ 1 ] This, with other
ceremonies, was supposed to be ordered by a certain image like a doll,
which a sorcerer placed in his tobacco-pouch, whence it uttered its
oracles, at the same time moving as if alive. "Truly," writes Brebeuf,
"here is nonsense enough: but I greatly fear there is something more dark
and mysterious in it."

[ 1 "Suffit pour le present de dire en general, que iamais les
Bacchantes forcenees du temps passe ne firent rien de plus furieux en
leurs orgyes. C'est icy a s'entretuer, disent-ils, par des sorts qu'ils
s'entreiettent, dont la composition est d'ongles d'Ours, de dents de Loup,
d'ergots d'Aigles, de certaines pierres et de nerfs de Chien; c'est a
rendre du sang par la bouche et par les narines, ou plustost d'vne poudre
rouge qu'ils prennent subtilement, estans tombez sous le sort, et
blessez; et dix mille autres sottises que ie laisse volontiers."--Brebeuf,
Relation des Hurons, 1636, 117. ]

But all these ceremonies were outdone by the grand festival of the
_Ononhara_, or Dream Feast,--esteemed the most powerful remedy in cases of
sickness, or when a village was infested with evil spirits. The time and
manner of holding it were determined at a solemn council. This scene of
madness began at night. Men, women, and children, all pretending to have