Thus in Bosman’s account of the Benin fetish quoted above, he talks of ‘the pipe where the idol is lodged,’ that is the material habitation into which the spirit has been lured by some means of attraction. Miss Kingsley, describing a fetish or _juju_, says ‘it is not a doll or toy, and has far more affinity to the image of a saint, inasmuch as it is not venerated for itself, or treasured because of its prettiness, but only because it is the residence, or the occasional haunt, of a spirit’ (40, 287). The material objects which form the tutelary deities or _Bohsŭm_ of the natives of the Gold Coast are not symbols of gods which usually reside elsewhere; each is the actual receptacle or ordinary abiding-place of an indwelling god. One may be a wooden figure, another a stone, a third a covered calabash or an earthen pot, containing a mixture of blood and earth (15, 80). The best example of this class is provided by the _suhman_. The man who wants a _suhman_ takes some objects, it may be a rudely cut wooden image, or a stone, a root of a plant, or some red earth placed in a pan, and then he calls on a spirit of Sasabonsum (‘a genus of deities, every member of which possesses identical characteristics’) to enter the object prepared, promising it offerings and worship. If a spirit consents to take up its residence in the object a low hissing sound is heard, and the _suhman_ is complete. It receives a small portion of the daily food of its owner, and is treated with reverence, and mainly used to bring evil on some one else (15, 100-101). 5. Sometimes the fetish is merely the =vehicle or means by which the spirit communicates= with his worshippers, and only acquires a temporary personality when thus inspired. This is the character of the New Zealand fetishes, _wakapakoko_, or images. ‘A small image was used about 18 inches long, resembling a peg, with a carved head. The priest first bandaged a fillet of red parrot feathers under the god’s chin, which was called his _pahau_ or beard; when this was done it was taken possession of by the _atua_, whose spirit entered it; the priest then either held it in the hand and vibrated it in the air, whilst the powerful _karakia_ (charm, prayer) was repeated, or he tied a piece of string, formed of the centre of a flax leaf, round the neck of the image and stuck it in the ground: he sat at a little distance from it, holding the string in his hand, and gave the god a jerk to arrest his attention’ (69, 182). These Maori fetishes ‘were only thought to possess virtue or peculiar sanctity from the presence of the god they represent when dressed up, at other times they were regarded as bits of ordinary wood’ (69, 212). The use of the words ‘image’ and ‘god’ seem to place this ceremony on a higher plane than fetishism, but the ‘god’ is generally the spirit of an ancestor, and the ‘image’ is less a portrait of a worshipped deity than an expression of the Maori genius for wood-carving.