52 G. A. J. VAN DER SANDE. 



Land and in the whole of Melanesia [1. c. 14], black appeared to be the sign of sorrow, I 

 mention the report of Erdweg [1902, 289] that in Tumleo (Berlin Harbour) the yellow white 

 clay (probably the [yellow clay also mentioned by FlNSCH [1888, 318]) is decidedly the only 

 mourning colour. HaGEN [1899, 263] found on his territory the same as FlNSCH and adds that 

 red stands for more joyful émotions and that, when there is any cause for it, both colours 

 are applied at the same time on face and body. Those pigments are mixed with oil from the 

 seeds of C alophy llum inophyllum and of Aleurites Moluccana, or according to 

 NACHRICHTEN [18S4, 24], boiled out of the pith of the cocoa-nut. From British New Guinea, 

 black is also .reported as a mourning colour, sometimes clay is used (Annual Report 

 [1S99 — 1900, 63]), whilst CHALMERS [1SS5, 37] saw besides, how mourners smeared themselves 

 with ashes. The Tugeri also like to paint themselves; the Leyden Muséum possesses a spatula 

 out of cassowary bone (Ser. 941, N°. 42) which was carried with a string round the neck, 

 specially intended for smearing the colours (hère red, black and white) on the face. 



Besides red, black and white, yellow and grey are applied to the skin; when 

 other colours become available, as the washing blue imported in German N. G., thèse are also 

 gladly used. On Lake Sentâni small pièces of red and blue dermatographical pencil were at 

 a premium in the bartering trade, whilst the men of Tobâdi eagerly demanded the favour of 

 being painted with blue oilpaint. In Humboldt Bay and surroundings the red consists of 

 powdered clay. The colour is brownish red and there is some exaggeration in the repré- 

 sentation which Van DER Goes [1858, 82] gives of the hairdress coloured with this clay, 

 which is said to stand out against the green of the forests, like the red feathers of a bird 

 shine through the green leaves. Where the clay is obtained by the inhabitants of Humboldt 

 Bay, I hâve not been able to find out, but certainly not from the adjacent steep mountain 

 Mèr on the inner bay, which was already appreciated by FlNSCH [1888, 348] as an excellent 

 landmark. It demands some explanation, why he adds „and it received the distinguishing name 

 niera = red, because in the thick forest a tile-red stripe is already noticed from afar, which 

 is caused by the red clay". As a matter of fact, the mountain Mèr consists of limestone and 

 the débris hâve by dissection obtained a reddish colour. But it was impossible to make out, 

 what the name „Mèr" means, which also occurs hère as a surname of persons; with the 

 Malay „mera/i" = red, it has however no connection and red is in the language of the people 

 of the country according to BlNK [1902, 19] „metsj'e", according to myself ^misjï" or „mïsi". 

 That the clay of Mèr is not used for the making of pots (FlNSCH [1. c. 353]), I hâve already 

 stated above. 



The village of Nâcheibe prépares red clay for the bartering trade, possibly therefore 

 also for the people of Humboldt Bay and Lake Sentâni, with which latter it is said to be connected 

 by a mountain path over the Cyclope Mountains. The sample of the collection (N°. 208, PI. 

 VI, fig. 6) originates from the above village, where two women were occupied, one powdering 

 the rough pièces of clay by hammering them with a stone, whilst the other made small 

 puddings out of it (either or not provided on the top with a small button) and round balls, 

 about the size of a fist, wetted the surface with water and then with the wet fihgertop made 

 two circular, horizontal stripes, connected by about four vertical ones. After this the produce 

 was put out to dry. The lines impressed, hastily, with divided attention, I should feel inclined 

 to consider as a trade mark, not as an ornament, in which latter respect Nâcheibe, as can 



