84 Director's Annual Report. 
cause of the peculiar trembling motion of the wings which has been 
attributed by one or two authors to fear alone. 
A bird under close observation flew down to feed on the drupes 
of a small Olapa (Chetrodendron). After a few moments it flew up 
into a nearby tree, when after deliberately cleaning its bill it broke 
forth into its fullest song. Pausing as if to study the effect, or to 
see if the melody would be taken up by its neighbors, it would 
tremble the wings and hop idly about from branch to branch. 
This program was repeated many times, singing, feeding, and 
fluttering its wings alternatively. It is true that the quivering is 
more often resorted to under the stress of excitement, but it is 
equally certain that it is indulged in at other times quite naturally 
and frequently. 
As to the song of the Olomao little can be added to the excel- 
lent accounts already in print. No one is able to see the singer or 
hear its song without being impressed by its thrush-like character. 
The effort is more usually delivered from the topmost branches of 
some favorite tree; although it is to be found frequently singing 
joyously in the underbrush. When singing the head is always 
thrown well back, the throat full and free, and the wings and tail 
are invariably relaxed and drooping. ‘The irregular, at times, 
somewhat jerky, though always melodious song is given not once 
or twice, but often dozens of times. Once heard its character will 
live in the memory for years, though its component parts are 
wholly inimitable. 
Not only does the Olomao sing early and late, but in fine 
weather I have heard it far into the night. One of the peculiari- 
ties of the song is its ventriloquistic character. A bird may be 
singing volubly in a tree not twenty yards away, and so varied in 
volume and timbre are the notes as the song increases from its be- 
ginning of a few low chirping notes to the zenith of its power and 
beauty, that even an experienced observer is at times at a loss to 
locate the songster. In truth it seems that the whole tree might be 
full of song. ‘The voice comes from the centre, from the right, from 
the left, from the back and from the top of the tree successively or 
simultaneously, seemingly at the pleasure of the musician. So 
marked is this power that a bird in plain sight may sing a half 
dozen times before the sombre-colored piper will be discovered. 
In addition to the song the Olomao has a number of notes and 
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