We rode past cane-plantations fenced with palm-tree trunks or hedged with huge prickly pear; past thickets of wild indigo and castor bean; through guava-jungles, where we pulled and ate the ripe fruit, yellow outside and pink within; past large fish-ponds that had been constructed for the chiefs in former days; past rice-fields where Chinese were scaring away the birds; past threshing-floors where Chinese were threshing rice; past _kamani_ trees (from Tahiti) that looked like umbrellas slanting upward; past a flock of mina-birds brought from Australia; past aloe-plants and vast thickets of red and yellow lantana in blossom, reaching as high as our horses' necks. We dismounted in front of a little grass hut where we heard the sound of a tappa-pounder, and went to the door. An old native woman, with her arms tattooed with India-ink, was sitting on a mat spread on the ground, with a sheet of moist red tappa lying over a beam placed on the ground in front of her, and a four-sided mallet in her hand. Beside her sat a young half-white girl with a large tortoise-shell comb in her hair and a fat little dog in her arms. We asked if we could come in and see the tappa. The old woman said "Yes," and displayed it with some pride. She was making it to give to Queen Emma, hence the pains she was taking with the coloring and the pattern. The bark of a shrub resembling our pawpaw tree is steeped in water until it becomes a mass of pulp. Then it is laid on the heavy beam and beaten with the tappa-pounder, and pulled and stretched until it becomes a square sheet with firm edges, about as thick as calico and six or eight feet square. The juice of berries or dye from the bark of trees furnishes the coloring, and the pattern is determined by the figures cut in the tappa-pounder. Some fine mats rolled-up in one corner and some braided baskets on the wall were also the work of this tappa-maker.