(M67) Some villagers in Sikhim betrayed a lively horror and hid away whenever the lens of a camera, or “the evil eye of the box” as they called it, was turned on them. They thought it took away their souls with their pictures, and so put it in the power of the owner of the pictures to cast spells on them, and they alleged that a photograph of the scenery blighted the landscape.(343) Until the reign of the late King of Siam no Siamese coins were ever stamped with the image of the king, “for at that time there was a strong prejudice against the making of portraits in any medium. Europeans who travel into the jungle have, even at the present time, only to point a camera at a crowd to procure its instant dispersion. When a copy of the face of a person is made and taken away from him, a portion of his life goes with the picture. Unless the sovereign had been blessed with the years of a Methusaleh he could scarcely have permitted his life to be distributed in small pieces together with the coins of the realm.”(344) Similarly, in Corea, “the effigy of the king is not struck on the coins; only a few Chinese characters are put on them. They would deem it an insult to the king to put his sacred face on objects which pass into the most vulgar hands and often roll on the ground in the dust or the mud. When the French ships arrived for the first time in Corea, the mandarin who was sent on board to communicate with them was dreadfully shocked to see the levity with which these western barbarians treated the face of their sovereign, reproduced on the coins, and the recklessness with which they put it in the hands of the first comer, without troubling themselves in the least whether or not he would shew it due respect.”(345) In Minahassa, a district of Celebes, many chiefs are reluctant to be photographed, believing that if that were done they would soon die. For they imagine that, were the photograph lost by its owner and found by somebody else, whatever injury the finder chose to do to the portrait would equally affect the person whom it represented.(346) Mortal terror was depicted on the faces of the Battas upon whom von Brenner turned the lens of his camera; they thought he wished to carry off their shadows or spirits in a little box.(347) When Dr. Nieuwenhuis attempted to photograph the Kayans or Bahaus of central Borneo, they were much alarmed, fearing that their souls would follow their photographs into the far country and that their deserted bodies would fall sick. Further, they imagined that possessing their likenesses the explorer would be able by magic art to work on the originals at a distance.(348)