At the end of the fourth day, with many prayers and ceremonies, the circle is obliterated, and the other objects, including the effigy, are taken away by the shamans to be disposed of in a manner known to them alone.
During the period of official mourning the loud wail was carried on incessantly, or at least at frequent intervals; fasting was practised; the women wept, sobbed, screamed, and yelled.

Both sexes gathered daily around the place where the effigy lay, praying loudly for the safe journey and arrival at Shipapu of the defunct.

The women alone shed tears on such occasions, the men only stared with a gloomy face and thoughtful mien.

They recalled and remembered the dead.

What the great master of historical composition has said of the ancient Germans may be applied here also: "Feminis lugere honestum est, viris meminisse." In the humble abode where Topanashka Tihua had dwelt with his deaf old wife, and where his bloody remains had rested previous to being borne to the funeral pyre, his effigy lay covered by the handsomest piece of cotton cloth that could be found among the homes of the Rito, and a quaintly painted and decorated specimen of pottery contained the drinking-water for his soul.