2S4 G- A. J. VAN T DER SANDE. 



viction that the ornament of the Papuan represents a kind of writing, expressing ideas, and 

 giving a legible form to thought, was then brought home to me for good. 



Lines, apparently of an arbitrary shape, turn out, on closer inspection, to occur in 

 exactly the same manner on objects obtained from différent places. The art of Papua Tâlan- 

 djang, which, as far west as Tanah Merah, is counted by PREUSS [1897, 85J to belong to 

 that of the German-Netherlands' frontier territory, is rich in similar examples, proving that 

 not the personal artistic ideas, but the mental conceptions of the tribe guide the hand. 



As an often occurring illustration I mention the complex of zigzag lines on the 

 tobacco cylinder N°. 153, PL V, fig. 3, on the handles of the lime calabashes N os . 185 and 

 186, PI. VI, fig. 4a, and on the boar lance N°. 575, fig. iook. 



Another illustration is the composition of circles and triangles on the handle 

 of the lime calabash N°. 179, PL VI, figs. 3 and 3 a , on the boar lance N°. 574, fig. ioo a , on 

 the hackling sticks N os . 580—583, PL XX, fig. 16, on the chisel N°. 703, PL XXIV, fig. 11 

 and on the arrow N°. 748, PL XXVII, fig. 1. 



They belong to the tribal ornament described of thèse parts by the original studies of 

 PREUSS. His figure of the flying P ter pus [1S98, 102, fig. 143], taken by BlRO [1S99, 62] 

 for a human figure of which the limbs hâve been changed into spirals, lias since been 

 explained by SCHMIDT [1903, JJ, 78, fig. 1] and PôCH [1905,445] as representing a butterfly. 

 It occurs on the shields N 05 . 1263 — 64, PL XXVI, figs. 13 and 12. 



The linked ornament taken by PREUSS [1897, 95, 105, figs. 2 — 10 ; 1898, 104 

 figs. 148 — 150] for a row of dancers, or Pteropus, also illustrated by FlNSCH [1888 — 93, 

 PL 9, fig. 6], Biro [1899, 61, PL XIII. fig. i; 1901, 38, fig. 10, N°. 3], Erdweg [1902, 369, 

 fig. 255] and GRAEBNER [1902, 301, 302, figs. 6 — 14] also occurs on the shields N os . 1261 — 62, 

 PL XXVI, figs. 14 and 2. The objection advanced by PREUSS himself [1897, 104] against 

 his view, namely, that such an arrangement of dancers does not occur with the dances known, 

 may be considered as removed by the descriptions of dances by ERDWEG [1902, 304] and 

 those treated in Chapter XII (see figs. 198 — 199). 



Preuss [189S, 87, 88, fig. 55] and Parkinson [1900, PL XXI, figs. 39 — 40] mention 

 ornamented lower arms of bows, while in my opinion thèse are the upper arms, and the 

 ornament should be looked at from the opposite direction. 



On page 197 I already stated that the ornament of the oar, taken by PREUSS 

 [1899, 174, PL V, fig. 27] as originating from snake figures, is on the contrary a convention- 

 alized fish figure, very common on Lake Sentâni, to be found on the oars N os . 670 — 672, 

 PL XXII, figs. 1—2. Also on PL I, figs. n — 13 and 17; PL II; PL III, figs. 14—15; PL IV, 

 figs. 11 and 2i ; PL V, fig. 4; PL XII. fig. 4; PL XVIII, figs. 2 and il; PL XXII, fig. 6; 

 PL XXIII, figs. 1—4; PL XXV, fig. 4; PL XXVI, fig. 3—6 and 8. 



The loop coil is, to a high degree, characteristic of Lake Sentâni and neighbourhood, 

 and startling is also the fréquent use of the eye ornament, sometimes by a high number 

 covering a whole surface; — see PL XVII, figs. 11, 13 and 14; PL XVIII, fig. 11; PL XXV, 

 figs. 5 — 7; PL XXVI, figs. 11 and 14. — I found it confirmed that the eye is also drawn 

 in the form of a spiral (PREUSS [1898, 90]); see fig. 150 in text. 



The plastic représentation of man is characterised in H. B. and neighbourhood by 

 the upper part of the head being disproportionately large compared to the often triangular 



