INDUSTRV. 235 



then hung ou'tside the house in the sun to dry (fig. 147). This entire manipulation took 

 place in the village itself, presumably because there is no very great safety for the women 

 in the forests, or because the men are not inclined to stay close by, as in central Celebes 

 (ADRIANI and KRUYT [1901, 139]), till the work is finished. 



I never saw the boiling in an earthenware pot with the addition of ashes, in order 

 to obtain a white colour, or a fermentation of the moist bark wrapped in leaves of Livis- 

 tonia rotH?idifolia, as is reported from Celebes. The bark is lighter or darker according 

 to the kind of tree which supplied it; this also holds good, as I was told by missionaries, for 

 Geelvink Bay; both kinds are worn, whilst in K. W. Land only the lighter kind, supplied, 

 according to SCHELLONG [1888, 221] by two kinds of tree, is used. The common name of 

 the material is in H. B. as vvell as on Lake Sentâni marâ, sometimes shortened to mâr; the 

 addition chembau, therefore marâ cliêmbau, for the red brown kind, according to my inter- 

 préter, points to the species of tree. 



Xot much attention was given in Asé to the nature of the beating instrument. Stones, 

 as used on Celebes (ADRIANI and KRUYT [1901, 139]) but also in N. G. (SCHMELTZ [1888, 233] ), 

 or coral beaters (SCHELLONG [1888, 221, PI. XIX, figs. 5 and 6]) as known of Finsch Harbour, 

 carved on the striking surface, or wooden beaters with circulai' grooves as in the possession 

 of the Utrecht collection from Geelvink Bay, and as illustrated by UHLE [1886, 9, N°. 4521, 

 PL VII, fig. 1] from Doré, by ERDWEG [1902, 308, fig. 205] from K. W. Land, and by EDGE 

 PARTINGTON [1895, PL 178] from British New Guinea, were not known hère. 



According to BlRO [1901, 47] it dépends upon the work being done with wood or 

 with stone whether a différent article is obtained. However this may be, at Asé pièces of 

 wood are used, like N°. 712 (PL XXV, fig. 11), and the sides of thèse are used for the beating. 

 The old woman of fig. 145, to my astonishment, was beating with the broad back of her 

 chopper. The great number of pièces which were hanging drying on fig. 147, made me présume 

 that the female inhabitants of this house were preparing the bark wholesale and as an article 

 for trading, but I was unable to obtain any confirmation of this, and I therefore conclude 

 that every family works for its own needs. Often a stock of large bundles of prepared 

 bark is suspended inside the houses. 



Another industry, again in the hands of the women, is the manufacture ofpots, 

 of which the north coast of New Guinea has evidently several centra, amongst which the 

 H. B. industry occupies an honoured place. The opinion of FlNSCH [1888, 353], that this 

 industry belongs to the villages in the inner bay, has been proved to be incorrect, also his 

 idea, shared by Vax DER GOES [1858, 141, 180], that the same red clay obtained from the 

 surrounding hills, used for the hair as a pigment, is also used in the manufacture of the pots. 

 If the information of the Papuans has been properly understood, the case however is diffé- 

 rent and the material used consists of a yellow kind of clay (N°. 713), to be found in the 

 neighbourhood of Kajo Jenbi, and the manufacturing is only done by the inhabitants of 

 this village, who call their pots ûde; in Tobâdi they are called anhid, in Tanah Merah 

 serai. The yellow clay differs only slightly in composition from the red and the grey 

 clay (see pp. 52 — 54J. 



On Lake Sentâni the village of Abâr also produces pottery; greyish black clay, 

 found in the immédiate vicinity, is used. Spécimens of this industry hâve been discussed as 



