But when perspective is included, the Kaffir is wholly at a loss to comprehend it. One of my friends, who was travelling in South Africa, halted at a well-known spot, and while there received a copy of an illustrated newspaper, in which was an engraving of the identical spot. He was delighted at the opportunity, and called the Kaffirs to come and look at the print. Not one of them could form the slightest conception of its meaning, although, by a curious coincidence, a wagon had been represented in exactly the situation which was occupied by that in which they were travelling. In vain did he explain the print. Here was the wagon--there was that clump of trees--there was that flat-topped hill--down in that direction ran that ravine--and so forth. They listened very attentively, and then began to laugh, thinking that he was joking with them. The wagon, which happened to be in the foreground, they recognized, but the landscape they ignored. “That clump of trees,” said they, “is more than a mile distant; how _can_ it be on this flat piece of paper?” To their minds the argument was ended, and there was no room for further discussion. I have another snuff box, which is remarkable as being a combination of two arts; namely, modelling and bead work. The author of this composition does not seem to have been a man of original genius, or to have possessed any confidence in his power of modelling. Instead of making a clay model of some animal, he has contented himself with imitating a gourd, one of the easiest tasks that a child of four years old could perform. There is nothing to do but to make a ball of clay, for the body of the box, and fix to it a small cylinder of clay for the neck. The maker of this snuff box has been scarcely more successful in the ornamental cover than in the box itself. With great labor he has woven an envelope made of beads, and up to a certain point has been successful. He has evidently possessed beads of several sizes, and has disposed them with some ingenuity. The larger are made into the cover for the neck of the box, a number of the very largest beads being reserved to mark the line where the neck is worked into the body of the bottle. All the beads are strung upon threads made of sinews, and are managed so ingeniously that a kind of close network is formed, which fits almost tightly to the box. But the maker has committed a slight error in his measurements, and the consequence is that, although the cover fits closely over the greater part of the box, it forms several ungainly wrinkles here and there; the maker having forgotten that, owing to the globular shape of the box, the diameter of the bead envelope ought to have been contracted with each row of beads. The colors of the beads are only three--namely, chalk-white, garnet, and blue; the two latter being translucent. The groundwork is formed of the opaque white beads, while those of the other two colors are disposed in bands running in a slightly spiral direction.