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 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, after ward 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. [Illustration: FIG. 553.--The fret of basket decoration.] [Illustration: FIG. 554.--The fret of pottery decoration.] [Illustration: FIG. 555.--Scroll as evolved from fret in pottery decoration.]