IMITATION AND MIMICRY. 207 
Nieremberg, and Sir Hans Sloane, it is not satisfied 
with barely re-echoing the sounds imitated, but 
gives them a softness and grace not characteristic 
of the original, for which reason the Mexicans 
termed it the bird of four hundred tongues (Cencon- 
tlatotli). ‘These writers also mention its mingling 
action with its song, accompanying the notes with 
measured movements expressive of. successive 
emotions. In its preluding, it rises slowly with ex- 
panded wings, sinking back to the same spot, with 
its head hanging downward, as the skylark may 
sometimes be observed to do. When it has ad- 
vanced farther in the performance, it ascends and 
descends on the wing in a spiral manner, and if the 
notes are brisk and lively, it describes in the air 
circles, crossing in all directions. When the notes 
are loud and rapid, it flaps its wings with propor- 
tional rapidity ; and when the notes are unequal it 
bounds and flutters in unison; but as it becomes 
apparently tired of exertion, its tones soften by de- 
grees, melt into tender strains, and die away in a 
pause which has a peculiarly fine effect, while at 
the same time it gradually diminishes its action, 
glides gently and smoothly above its station tree 
till the wavings of its wings become imperceptible, 
and finally ceasing, the little musician remains in 
the air suspended and motionless, as the kestril 
(Falco tinnunculus) may be seen to do when it 
watches for prey. 
“1 saw, heard, and admired,” says Fernandez, “a 
small bird brought to Madrid, the queen of all sing- 
ing birds that could command any voice or tune. 
It is not bigger than a starling, white underneath, 
brown above, with some black and white feathers 
intermixed, especially next the tail and about the 
head, which is encircled with the likeness of a sil- 
ver crown. It is kept in cages to delight the ear, 
and for a natural rarity or rather wonder. It ex- 
cels all birds in sweetness and variety of song and 
