gy (which with these people means actual
relationship or connection, it will be remembered), the Zuni woman
supposes that by closing the apex of this _artificial_ mamma she
closes the exit-way for the "source of life;" further, that the woman
who closes this exit-way knowingly (in her own sight, that is)
voluntarily closes the exit-way for the source of life in her _own_
mammae; further still, that for this reason the privilege of bearing
infants may be taken away from her, or at any rate (experience showing
the fallacy of this philosophy) she deserves the loss of the sense
(sight) which enabled her to "_knowingly_" close the exit-way of the
source of life.

[Illustration: FIG. 548. FIG. 549.
Conical canteen compared with human mammary gland.]

By that tenacity of conservative reasoning which is a marked mental
characteristic of the sedentary Pueblo, other types of the canteen, of
later origin, not only retained the name-root of this primeval form,
but also its attributed functions. For example, the _me' wi k'i lik
ton ne_ (See Fig. 550) is named thus from _me we_, mammaries, _i ki
lik toi e'_, joined together by a neck, and _to'm me_.

Now, when closing the ends (Fig. 550, _c_, _c_) of this curious vessel
in molding 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 k'i 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 but 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
mammaries, 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 ornamental bands
are painted around either end of the neck of one of them (Fig. 55