The statement that the Frogs and their kind dispense with a display requires some qualification. For in the first place they, like their tailed relatives the Newts, develop secondary sexual characters, but these are of a quite peculiar kind. Among the Newt tribe, as has been mentioned, these characters take the form of frills and crests and vivid colours. They are intended to stimulate through the sense of sight, and arouse emotion, as a city is beflagged to welcome those it may delight to honour. The Frog tribe appeal to the musical sense, even though that music be of a barbaric kind. But, it would seem, when once the errant females have been drawn to the spot chosen by the males, no further aphrodisiac is used, the male simply seizing upon the female nearest at hand and, having once embraced her, she is not released again until the eggs have been extruded and fertilized. To maintain his hold, the forearm is often excessively muscular, while one or more of the fingers may be armed with pads. In some cases, as with the Himalayan _Rana liebigi_, the inner side of the arm and each side of the breast are studded with small conical spines. But the absence of ornament in these cases, as with such of the Newts where there is no amorous display before embrace, is significant. And now, as touching the musical performances of these troubadours. These commence in the early spring. With many species, as with our Common Frog (_Rana temporaria_) nothing more than loud croakings are attained. But with others this “music” is enormously increased in volume by resonators in the form of air-sacs or wind-bags. We may surely, with some show of certainty, liken this “music” to the song of birds, and assign its primary purpose to the same cause—a device to advertise their presence to wandering females seeking mates. That birds sing after mates have been found, and later, is no doubt due to a general feeling of “fitness,” which finds expression in what has become the usual mode for such emotional states. Most people must have heard the spring concerts of our Common Frog; but these are incomparably surpassed in volume by the Edible Frog and the Bull Frog, which are provided with large, globular, inflatable, air-sacs in the throat, serving as voice-resonators. Such performances, however, are mere bawlings compared with some other species, which mew like cats, or bark like dogs. The most famous of all is the Brazilian “Ferreiro” or “Smith” (_Hylodes faber_), whose voice is one of the most characteristic sounds to be heard in Tropical South America. “Fancy,” says Dr. Gadow, “the noise of a mallet, slowly and regularly beaten upon a copper plate, and you will have a pretty good idea of the concert given generally by several individuals at the same time and with slight variations of tone and intensity.” When seized, the performer utters a “loud and shrill, most startling cry, somewhat similar to that of a wounded cat.” Another, a Paraguayan species,