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The dead are buried in secret, only a few of the close relations having knowledge of the place. Immediately after death the body is carried on horseback to a high point, where it is placed on the ground and covered with the personal possessions of the deceased, such as clothing, blankets, saddles, and weapons, and over all are heaped brush and stones. Formerly a man's horse was killed near his grave, and sometimes as many as three or four horses were similarly sacrificed at different places. In former times also the _kozhan_ was burned after the burial, and members of the family cut their hair as a sign of mourning. The souls of the dead are believed to rise skyward. In one portion of the sky, among vast herds of buffalo, all those who have met death in battle assemble, rich and happy; in another part, those who have succumbed to sickness and old age. The evil, or those who have practised witchcraft, have a place apart from the rest. Between the latter and the spirits of the good stands a high rock wall at which the evil ones are condemned to dig for eternity in an effort to reach the happier home. Spirits can work only in darkness, and the work of the night is ever brought to naught by recurring daylight.

The chief characteristics of Sofonisba's painting were grace and spirit. Her portrait of herself when at her best is in possession of the Lomellini. A second is the splendid picture at Althorpe, in which she is represented as playing the harpsichord. One can scarcely imagine a place in which a portrait would be more severely tested than in the gallery of the Earl of Spencer, beside portraits of lovely women and famous men, painted by master artists. Yet this work of Sofonisba's is praised by discerning critics and connoisseurs. Of the other portraits of herself, that in the Uffizi is signed by her as "of Cremona," which suggests that it was painted before she went to Spain. That in the Vienna Gallery is dated 1551, and inscribed Sophonisba Anguissola. Virgo. Sc. Ipsam Fecit. Still another, in which a man stands beside her, is in the Sienna Gallery. He holds a brush in his hand, and is probably one of her masters.

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