514 PUEBLO POTTERY AND ZUN[ CULTIIRE-GHOWTH. 



Now, when closing the ends (Fig. 550, c,c) of this curious vessel in mold 

 ing' it, the women are as careful to turn the eyes away as in closing 

 the apex of the older form. As the resemblance of either of the ends 

 of this vessel to the mamma is not striking, they place on either side of 

 the nozzle a pair of little conical projections, resembling the teats, 

 and so called. (Fig. 550, b.) There are four of these, instead of, as we 

 might reasonably expect, two. The reason for this seems to be that 

 the me' wi Wi lik ton ne is the canteen designed for use by the hunter in 

 preference to all other vessels, because it may be easily wrapped in a 

 blanket and tied to the back. Other forms would not do, as the hunter 

 must have the free use not only of his hands hut also of his head, that 

 he may turn quickly this way or that in looking for or watching game 

 The proper nourishment of the hunter is the game he kills; hence, the 

 source of his life, like that of the young of this game, is symbolized in 

 the canteen by the mamillaries, not of human beings, but of game- 

 animals. A feature in these canteens dependent upon all this brings us 

 nearer to an understanding of the question under discussion. When 



Fig. 550. — Double lobed or hunter canteen. 



ornamental bands are painted around either end of the neck of one of 

 them (Fig. 550, b), they are interrupted at the little projections (Fig. 

 550, ft,). Indeed, I have observed specimens on which these lines, if 

 placed farther out, were interrupted at the top (Fig. 550, a a) opposite 

 the little projections. So, by analogy, it would seem the Pueblos came 

 to 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 iu 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. 



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 



