in use for bringing water from a distance,
the latter was employed for storing it. As the fragile earthen vessels
were much more readily made and less liable to become tainted, they
were exclusively used as receptacles, removing the necessity of the
tedious manufacture of a large number of the basket-bottles. Again, as
the pitcher was thus used exclusively as a receptacle, to be set aside
in household or camp, the name _i' mush ton ne_ sufficed without the
interpolation _te_--"earthenware"--to distinguish it as of _terra
cotta_, instead of osiery.

[Illustration: FIG. 521.--Water-bottle of corrugated ware, showing
double handle.]

[Illustration: FIG. 522.--Water-bottle of corrugated ware, showing
plain bottom.]

POTTERY INFLUENCED BY LOCAL MINERALS.

Before discussing the origin of other forms, it may be well to
consider briefly some influences, more or less local, which, in
addition to the general effect of gourd-forms in suggesting
basket-types and of the latter in shaping earthenware, had
considerable bearing on the development of ceramic art in the
Southwest, pushing it to higher degrees of perfection and diversity in
some parts than in others.

Perhaps first in importance among these influences was the mineral
character of a locality. Where clay occurred of a fine tough texture,
easily mined and manipulated, the work in _terra cotta_ became
proportionately more elaborate in variety and finer in quality. There
are to be found about the sites of some ancient pueblos, potsherds
incredibly abundant and indicating great advancement in decorative
art, while near others, architecturally similar, even where evidence
of ethnic connection is not wanting, only coarse, crudely-molded, and
painted fragments are discoverable, and these in limited quantity.

An example in point is the ruined pueblo of _A' wat u i_ or
_Aguatobi_, as it was known to the Spaniards at the time of the
conquest, when it was the leading "city of the Province of Tusayan,"
now Moki. Over the entire extent of this ruin, and to a considerable
distance around it, fragments of the greatest variety in color, shape,
size, and finish of ware occur in abundance. In the immediate
neighborhood, however, are extensive, readily accessible formations
producing several kinds of clay and nearly all the color minerals
used in the Pueblo potter's art. Yet at the greatest ruin on the upper
Colorado Chiquito (in an arm of the valley