CUBHING.l 



DECORATrVE SYMBOLISM. 



515 



little space is left down the center or either side of this line (see Figs. 

 551, 552), which is called the o neyathl Jtwa' to na, or the "entrance trail" 

 (of the source or breath of life). 



Fig. 551. — Painting of (leer. 



Fig. 552. — Painting of sea-serpent. 



By this long and involved examination of one element in the sym- 

 bolism 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 at- 

 tended 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 ex- 

 tremely 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, afterward 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. 



Going back to basketry, we find already the fully developed fret. (See 

 Fig. 553.) I doubt not that from this was evolved, in accordance with 

 Professor Hartt's theory, the scroll or volute as it appears later on pot- 

 tery. (See Figs. 554, 555.) To both of these designs, and modifications 

 of them ages later, the Pueblo has attached meanings. Those who have 

 visited the Southwest and ridden over the wide, barren plains, during 

 late autumn or early spring, have been astonished to find traced on the 

 sand by no visible agency, perfect concentric circles and scrolls or vo- 

 lutes yards long and as regular as though drawn by a skilled artist. 



