104 G. A. J. VAN DER SANDE. 



Perhaps, calf bands hâve been taken for neck ornaments and described as such : but it remains curious 

 that for instance calf bands were never mentioned in connection with H. B. 



The most simple form of calf band is a plain bit of string under the knee and this 

 is frequently met with. Probably on account of its simplicity, it was generally overlooked, 

 the albums of MEYER and PaRKINSON prove however the fréquent occurrence hereof in 

 German New Guinea, sometimes also in the case of women. I do not know whether it serves 

 any purpose. By plaiting together several small pièces of cord and stringing on Coix seeds, 

 beads, etc. the calf bands sometimes become so beautiful, that, as in Humboldt Bay, they 

 are only worn at the highest festivals, and when not used, are suspended, together with 



valuable simbbni, as an ornament, on the outer side of the men's ba°-s (N°. 6°7 640) 



A spécial set is that of Tobâdi (N°. 502, PI. XVII, fig. 1) where, on bands plaited after 

 the pattern of fig. 43, a large quantity of shells (Arca pilula Reeve) are suspended, which, 

 at dances, create a not unpleasant high sound; they can be placed on a line with the rattling 

 anklets of the Tugeri (PRATT [1906, 50]) and the dancing rattles of Konstantin Harbour (FlNSCH 

 [1888—93, 253]; Schmeltz [1895, 243, PI. XVI, fig. 1]), which, held in the hand, must also 

 be in time with the dance. The small shells are pierced near the hinge and are, very practi- 

 cally, strung on large loops in such a way, that they hang in pairs with the concave side 

 turned towards each other, which prevents their lying soundless inside each other like spoons. 

 Probably the name chnè-chnè or chneng-chneng is onomatopoetic. The Berlin Muséum contains 

 a similar set from the German-Netherl. frontier. HaGEN [1899, 188] reports such rattles from 

 the Le Maire Islands for knee and arm, as well as for the neck and the hips; BlRO [1899, 58, 

 PI. I, fig. 7] for arm, waist and foot (anklefj. Hère the shells are of Cypraea, the arrangement 

 is more in the way of bundles, but the sound is also mentioned as not unmelodious. The 

 model of the bands merits the attention; I am sorry that I am unable to sav whether thèse 

 ornaments, exclusively intended for men, are also manufactured by them, or whether thev 

 are made by women. The manner in which the bands of N°. 503 of Tobadi are plaited, can 

 be seen from fig. 68, /, in which for the sake of clearness, the threads hâve been drawn 

 somewhat wide. On the oblique, upper twists of the zigzag running cord a Coix seed is each 

 time strung; the oblique position of thèse seeds is therefore not accidentai, but is the neces- 

 sary conséquence of the technique followed. N°. 505 is on the same principle, also N°. 513 

 and 514, both from Ingrâs. On N°. 504 (PL XVII, fig. 3) of double breadth, two rows of Coix 

 seeds hâve been fastened ; fig. 69, a variation and extension of fig. 68, /, shows how the 

 différent incline of both rows of seeds has been obtained. N°. 506 combines the patterns of 

 fig. 68, 1 and fig. 68, 2. Ail thèse bands hâve at one end a loop or eye (festooned or not 

 according to fig. 56), which appears to be formed from the bights of the longitudinal cords, 

 from which it may be concluded that at the outset thèse were calculated to be twice the len°th 

 of the whole. It is évident that the cord on which the ornamental Coix seeds hâve been struno- 

 forms an integrate part of the band, and that the seeds must be strung on durino- the 

 construction of the band. 



N°. 507 from Tobâdi shows the simple plaiting of fig. 4; the small Coix rings of thèse 

 bands must hâve been strung on during the plaiting. 



In N°. 508- — 512, ail from villages in Jôtëfa Bay, again quite a différent pattern has 

 been followed ; which is very characteristic on account of the whole band having been made 



