four things mentioned by Rheen, other sources state that the first of them was only performed by the noaidi. Based on the sources, one might get the impression that the use of the drum was gradually "democratized", so that there in some regions there was a drum in each household, and that the father of the household could use it to seek advice. Yet the original use of the drum, inducing trance work, seems to have remained a specialty of the shaman. Sources seem to agree that in Southern Sámi districts in the 18th century, each household had its own drum. These were mostly used for divination. The types and the configurations of the motifs on the Southern Sámi drums suggest it was, indeed, used for divination. On the other hand, the configurations of the Northern Sámi drum motifs, with their hierarchical structures of the worlds, represent a mythological universe in which it was the noaidi's privilege to wander. The drum was usually carried along on nomadic wanderings. There are also reports of drums being hidden close to regular campsites. Inside the lavvu and the goahti, the drum was always placed in the boaššu, the space behind the fireplace that was considered the "holy room" of the goahti. Several contemporary sources describe a dual view of the drums: they were seen both as occult devices and as divination tools for practical purposes. Drums were inherited. Not all of those who owned drums in the 18th century described themselves as active users of their drum--at least that was what they insisted when the drums were confiscated. There is no known evidence of the drum or the noaidi having had any role in childbirth or funeral rituals. Some sources suggest that the drum was manufactured with the aid of secret rituals. However, Manker made a photo documentary describing the drum-making process. The selection of the motifs for the membrane, or the philosophy behind it, are not described in any sources. It is known that the dedication of a new drum featured rituals that involved the whole household. In trance The noaidi used the drum to induce a state of trance. He hit the drum with an intense rhythm until he went into a trance or sleep-like state. While in this tate, his free spirit could travel into the spirit-worlds, or to other places in the material world. The episode mentioned in Historia