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. [550], 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.
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 yäthl kwa' to na, or the "entrance trail" (of the source or breath of life).
Fig. 551.—Painting of deer.
