Then a toy canteen was begun by taking a lump of clay which, by modeling, soon assumed the shape of a low vase. With a small stick, a hole was punched through each side, a roll of clay was doubled for the handles, the ends thrust through the holes and smoothed down inside the vase, through the opening. The neck of the canteen was inserted in a similar way. Now the problem was to close the opening in this soft vessel from the outside. Nampeo threw a coil around the edge of the opening, pressing the layers together, gradually drawing in, making the orifices smaller until it presented a funnel shape. Then the funnel was pressed toward the body of the canteen, the edges closed together, soldered, smoothed, and presto! it was done and all traces of handling hidden. Anyone knowing the difficulties will appreciate this surprisingly dextrous piece of manipulation. Afterward, Nampeo made a small vase-shaped vessel, by modeling alone, without the addition of coiling as in the shaping of the canteen. The ware when it becomes sufficiently dry must receive a wash of the white clay called _hopi chuoka_ or _kutsatsuka_, which burns white. Thereupon it is carefully polished with a smooth pebble, shining from long use, and is ready for decoration. The use of the glaring white slip clay as a ground for decoration was probably brought from the Rio Grande by the Tewa; ancient Hopi ware is much more artistic, being polished on the body or paste, which usually blends in harmony with the decoration. Nampeo exhibited samples of her paints, of which she knows only red and dark brown. The red paint is yellow ocher, called _sikyatho_, turning red on firing. It was mixed on a concave stone with water. The dark brown paint is made from _toho_, an iron stone brought from a distant mesa. It was ground on a slab with a medium made from the seed of the tansy mustard (_Sisymbrium canescens_). The brushes were two strips of yucca, _mohu_, one for each color. With these slender means, without measurement, Nampeo rapidly covered the vessels with designs, either geometrical or conventionalized, human or cult,--figures or symbols. The narrow brush, held like a painter's striper, is effective for fine lines. In broad lines or wide portions of the decoration, the outlines are sharply defined and the spaces are filled in. No mistakes are made, for emendations and corrections are impossible.