Note on the left of the pipes the butt of one, showing how the end is closed by the natural section of bamboo. 3.—A STONE AXE. ] But the most splendid of all the articles of the Papuan costume is the feather head-dress, 16 feet high, which forms the central point of attraction when it occurs in a tribal dance. This ornament is extremely rare, and is always an heirloom, for it has taken generations to complete. It is a wonderful, fantastic device of feathers, built upon a light framework. The Bird of Paradise and the Gaura pigeon are laid under tribute for its construction, and the feathers of the different birds, and of different species of the same bird, are kept carefully apart, and are arranged in rows according to their natural order. A few lines of Bird of Paradise, a few lines of Gaura pigeon, then a few lines of another species of Bird of Paradise, and so on. The whole contrivance is most fantastic, and looks really impressive in the weird light of the torches as the dancers, decorated with flowing bunches of grass behind, proceed with their revel. The dances of the hill tribes are not elaborate in form, and consist principally of violent jumping up and down, accompanied by wild singing and noise, but the coast dances, as carried out by the members of the native police at Port Moresby, by permission of the authorities, although less effective in point of costume—for little dress at all is worn—have something of the orderly and progressive arrangement of the ballet of civilisation. On the day set apart for the dance at Port Moresby, a circle of native drummers would seat themselves on the ground, and would begin their monotonous performance—bang, bang, bang; bang, bang, bang—apparently without end, and with a wearisomely monotonous rhythm. Suddenly, to the orchestra and the spectators would enter two members of the Fly River police off duty, carrying a long, thin reed. These would begin the performance. They jumped up and down in regular rhythm, crouching lower and lower as the dance proceeded, their movements getting quicker and quicker as the drums “gave them pepper.” Then, still crouching and still jumping up and down with incredible swiftness, they would back out and disappear round the side of the house. This ended the first figure. For the second figure probably twenty of the force would enter, marching sedately in Indian file, the drums playing a slower rhythm. Suddenly the performers would stop, then they would turn their heads from side to side, and begin to move their legs slowly in time to the drums. Still wagging their heads, and without any increased motion of the limbs, they would proceed right round the ring of spectators and retire, without any perceptible quickening of pace. For the third figure they reappeared in files, moving their heads, the limbs still going in slow time. They advanced and retreated to and from the spectators several times, singing as they went, and finally backed out.