200 B.C.), appears to symbolize transformation, in this 
instance from human into a duck-like bird with rounded 
body and flipper-like feet (Plate VII). The frontal half 
is human, with hands held palms together to the chin; 
the rest of the body is that of a duck. A conical per- 
forated horn on the head forms the nosepiece, as in some 
of the effigy pipes from Nochipala. 
Space limitations preclude detailed discussion of duck 
symbolism, but it should be noted that chimereal or 
anthropomorphic ducks are not uncommon in_prehis- 
panic art, especially en the west coast. Ducks are present 
also in the art of Tlatilco and other Karly to Middle 
Formative sites. A study of Pueblo duck mythology and 
behets about the duck as supernatural among the Cor: 
and Huichol of West Mexico may throw some light on 
the problem; a Duck Person is a prominent figure in 
Huichol origin myths, as it is also among the Zuni and 
other Southwestern Indians; ducks seem to be messen- 
gers of the gods or else a form that the gods assume when 
they travel. Also, ducks are associated with shamanism, 
perhaps because, as wide-ranging water birds, they ap- 
pear to inhabit several planes at once. 
Of even greater interest isa Monte Alban effigy snuff 
ing pipe of grey clay, representing a deer resting on its 
stomach, with legs drawn up and head turned to the 
right (Plate VIII). Cloven hooves leave no doubt about 
the zoological identification. What makes this piece 
especially fascinating is that it holds an unmistakable 
peyote cactus in its mouth (I am greatly indebted to 
Miss Julie Jones of the Museum of Primitive Art, 
who recognized the significance of the deer-peyote asso- 
ciation here in relation to the Huichol conceptualization 
of peyote as deer, and vice versa, and who, on that ac- 
count, drew my attention to the artifact). 
While anthromorphic pipes from Oaxaca and Nochi- 
[ 18 J 
