“PUTTING ON PAINT AND -FRILLS.” 45 
upon it, or by the novel frills he has given the loose 
skin at the corner of his mouth, as in some auks; or 
by the congested warts, wattles, and snout-like ap- 
pendages about his head and the bright hues of the 
skin around them, as in the turkeys and pheasants. 
Nudity is used by birds eesthetically, but much 
more limitedly than in the average art gallery. 
Others are delighted by plumous crests, trains, 
ete., and the much spreading of the tails and wings, 
often when they are not remarkably colored. Oth- 
ers still among “the sex” seem humorously influ- 
enced into a tenderer state by antics, sometimes con- 
nected with the display of ornament and sometimes 
not, as if he who made the biggest clown of himself 
was the favored suitor. Her appreciation of this sort 
of “being agreeable” is often more demonstrative 
than that of any other, for she joins in the fun and 
plays back at the charmer with a sort of Barkislike 
willingness. In other cases she may be so apathetic 
as to simply stand by while she is being fought for, 
and is led off by the victor, whose ornaments seem 
only to have served the purpose of exasperating his 
rival. This is strikingly noticeable in the male tur- 
key’s hatred of brilliant colors, especially red. 
Nevertheless, color is certainly the most general 
and the most refined form of ornamentation. It also, 
like change of shape, may occur anywhere on the 
bird. The tip of the beak may be tinted or its entire 
length may be crossed with colored bars in the charm- 
ing season only. Above the eye a colored scale may 
shoot out, as in the ptarmigan (which his rival at- 
