It is more than probable that the operation of grinding corn, which is so often mentioned in the earlier Scriptures, was performed in just such a mill as the Kaffir woman uses. The labor of grinding the corn is very severe, the whole weight of the body being thrown on the stone, and the hands being fully occupied in rolling and rocking the upper stone upon the lower. Moreover, the labor has to be repeated daily, and oftentimes the poor hard-worked woman is obliged to resume it several times in the day. Only sufficient corn is ground for the consumption of a single meal; and therefore, so often as the men are hungry, so often has she to grind corn for them. The boiled and ground corn takes a new name, and is now termed “isicaba;” and when a sufficient quantity has been ground, the woman takes it from the mat, puts it into a basket, and brings it to her husband, who is probably asleep or smoking his pipe. She then brings him a bowl, some clotted milk, and his favorite spoon, and leaves him to mix it for himself and take his meal, she not expecting to partake with him, any more than she would expect him to help her in grinding the corn. As the Kaffir is eminently a social being, he likes to takes his meals in company, and does so in a very orderly fashion. When a number of Kaffirs meet for a social meal, they seat themselves round the fire, squatted in their usual manner, and always forming themselves into a circle, Kaffir fashion. If they should be very numerous, they will form two or more concentric circles, all close to each other, and all facing inward. The pot is then put on to boil, and while the “mealies,” or heads of maize, are being cooked, they all strike up songs, and sing them until the feast is ready. Sometimes they prefer love songs, and are always fond of songs that celebrate the possession of cattle. These melodies have a chorus that is perfectly meaningless, like the choruses of many of our own popular songs, but the singers become quite infatuated with them. In a well known cattle song, the burden of which is E-e-e-yu-yu-yu, they all accompany the words with gestures. Their hands are clenched, with the palms turned upward; their arms bent, and at each E-e-e they drive their arms out to their full extent; and at each repetition of the syllable “yu,” they bring their elbows against their sides, so as to give additional emphasis to the song. An illustration on page 145, represents such a scene, and is drawn from a sketch by Captain Drayson, R. A., who has frequently been present in such scenes, and learned to take his part in the wild chorus. As to the smoke of the fire, the Kaffirs care nothing for it, although no European singer would be able to utter two notes in such a choking atmosphere, or to see what he was doing in a small hut without window or chimney, and filled with wood smoke. Some snuff gourds are seen on the ground, and on the left hand, just behind a