“For the body there is a greater choice of design, but the choice is between certain well known patterns, and the ways in which each may be used are definitely fixed. The most characteristic and, at the present time, the most popular type is the deer-sunflower pattern (fig. 142). Two large medallions representing sunflowers are painted on opposite sides of the jar. Three such medallions are sometimes used, but two is the preferred number. The space between the medallions is divided horizontally by a narrow band. The band may be filled with small conventionalized birds or with an interlocking scroll figure. In each of the spaces formed by this band are painted two deer, each surrounded by graceful scroll work, called in Zuni terminology ‘the deer’s house’. In all, eight deer are used, two in each of the four fields. The deer are always painted in exactly the same way, in profile with the head to the right, and with certain of the internal organs indicated. There is no variation even in the ornamental scrolls surrounding the representation. In small jars it is permitted to substitute for the deer on the lower and smaller part of the jar one of several well defined crook or scroll patterns, but any other departures from the established scheme are severely criticised. The first of the two rim designs referred to above is always used with the deer pattern. The whole composition in precisely the combination described appears over and over again in water jars now in use at Zuni as well as in older specimens now in our museums, and the fixity of the type is clearly recognized by native artists. [Illustration: Fig. 142. Zuni pot.] “This is only one of a number of equally fixed types of decoration at present in favor at Zuni. There is, for instance, one very elaborate terraced figure repeated in literally hundreds of specimens of water jars, and always without the slightest variation either in the figure itself or in its application to the jar. It is always used in threes and with the second of the two rim designs. There are other types also, any one of which is known to and can be described by any well informed Zuni potter. Although the invention of new designs is considered eminently desirable among them, the actual number of Zuni pots that do not belong to one or the other of these recognized types is exceedingly small.” [Illustration: Fig. 143. Haussa embroideries.]