regard paint, like clay, a barrier to the exit of the source of life.  This idea of the source of life once associated with the canteen would readily become connected with the water-jar, which, if not the offspring of the canteen, at least usurped its place in the household economy of these people.  From the water-jar it would pass naturally to drinking-vessels and eating-bowls, explaining the absence of the interrupted lines on the oldest of these and their constant occurrence on recent and modern examples; for the painted lines being left open at the apexes, or near the projections on the canteens, they should also be unjoined on other vessels with which the same ideas were associated.

[Illustration:  FIG. 550.—­Double lobed or hunter canteen.]

So, also, it will be observed that in paintings of animals there is not only a line drawn from the mouth to the plainly depicted heart, but a little space is left down the center or either side of this line (see Figs. 551, 552), which is called the o ne yaethl kwa’ to na, or the “entrance trail” (of the source or breath of life).

[Illustration:  FIG. 551.—­Painting of deer.]

[Illustration:  FIG. 552.—­Painting of sea-serpent.]

By this long and involved examination of one element in the symbolism of Pueblo ceramic decoration, we gain some idea how many others not quite so striking, yet equally curious, grew up; how, also, they might be explained.  Their investigation, however, would be attended with such intricate studies, involving so many subjects not at sight related to the one in hand, that I must hasten to present two other points.

Much wonder has been expressed that the Pueblos, so advanced in pottery decoration, have not attempted more representations of natural objects.  There is less ground for this wonder than at first appears.  It should be remembered that the original angular models which the Pueblo had, out of which to develop his art, bequeathed to him an extremely conventional conception of things.  This, added to his peculiar way of interpreting relationship and personifying phenomena and even functions, has resulted in making his depictions obscure.  In point of fact, in the decoration of certain classes of his pottery he has attempted the reproduction of almost everything and of every phenomenon in nature held as sacred or mysterious by him.  On certain other classes he has developed, imitatively, many typical decorations which now have no special symbolism, but which once had definite significance; and, finally, he has sometimes relegated definite meanings to designs which at first had no significance, except as decorative agents, after ward using them according to this interpretation in his attempts to delineate natural objects, their phenomena, and functions.  I will illustrate by examples, the last point first.

[Illustration:  FIG. 553.—­The fret of basket decoration.]

[Illustration:  FIG. 554.—­The fret of pottery decoration.]