152 



SPOLIA ZEYLANICA. 



are scored with the marking awl, which is a small bone tool with a 

 sharp point inserted near one end. The comb is now set in the 

 vice, which is held conveniently against a stone by pressure of the 

 worker's leg (PI. A, fig. 2). 



The vice (tig. I.) consists o\' two pieces of wood tied together 

 near one end, and having a wedge inserted at the other, which, 

 when it is driven in, causes the short ends to grip very tightly 

 whatever is placed between them. The vice is usually orna- 

 mented with a little primitive carving. The teeth are now cut 

 (PL. A, fig. 2), first on one side, small teeth with a fine saw, then 

 on the other, coarse teeth with a thicker saw ; these teeth are cut 

 very regularly and with astonishing quickness. Each tooth is 

 next filed back and front to make its edges smooth. Finally the 

 comb is taken out of the vice and a simi:)Ie pattern incised with a 

 chisel-shaped iron tool, as in the upper comb (PI. B, fig. 3), or 



Fig. I. 

 A, the vice, length ] U inches (Baudarawela District). 



B and C, two pattern-marking' tools (Pallebedde, Atakalan Koralc, Province of 

 Sabaragamuwa) (reduced). 



with a two or three-pointed tool as in the lower comb (PI. B, fig. 3). 

 The pointed tools (B and C) in fig. I. were used in ornamenting 

 the comb last referred to, which was made at Pallebedde, Atakalan 

 Korale, Province of Sabaragamuwa. Last of all the comb is 

 polished by rubbing with wood ashes and horn shavings. 



More elaborately carved and pierced horn combs are sometimes 

 met with, but their actual manufacture has not been seen by us, 

 and it is very doubtful if they are any longer made. 



The comb shown in fig. II. is pierced, and deeply carved with 

 a characteristic Kandyan pattern. Fig. 4, PL B, shows a 

 more elaborate comb, carved and pierced with the ndri lata 

 (woman creeper) design. The ndri, lata is a well known and 

 interesting Kandyan pattern, consisting essentially of a female 

 figure holding a creeper in each hand. In the horn comb shown 

 the figure seems almost to spring from the tree itself, suggesting 

 a possible origin of the design in the idea of a sacred tree with its 



