0,
_b_), they are interrupted at the little projections (Fig. 550, _b,_).
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 in 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.

[Illustration: FIG. 550.--Double lobed or hunter canteen.]

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 little space is left down the center or either side of this
line (see Figs. 551, 552), which is called the _o ne yaethl kwa' to
na_, or the "entrance trail" (of the source or breath of life).

[Illustration: FIG. 551.--Painting of deer.]

[Illustration: FIG. 552.--Painting of sea-serpent.]

By this long and involved examination of _one_ element in the
symbolism 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
attended 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
extremely 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 de