facture are
not the same as those employed for making nets and hammocks. I will
deal separately with the five forms already described by me.

Nos. 1 and 2 are made of either ordinary or Mafulu network, and are
never coloured. When these, or any other bags, are made of Mafulu
network, their elasticity is very great. No. 3 is always made of
Mafulu network, and coloured. No. 4 is made of Mafulu network, and
is sometimes coloured, and sometimes not. No. 5 is made of Mafulu
network, and is sometimes coloured. The string used in making this
bag is different from that used for the others, and is obtained from
the bark of a small shrub.

The question of manufacture introduces another form of bag (Plate 53,
Fig 3), which I may call No. 6. It is used by men for the purposes of
No. 4, and No 5 is also sometimes made in the same way. The method of
manufacture of No. 6 is, I was told, an uncommon one; and, though I
was able to procure one of these bags, I had not an opportunity of
observing the process by which it was made. The appearance of the
bag, however, suggests a process not unlike that of knitting. Its
outer surface displays a series of thick, strong trie ord-plaited,
vertical ridges, all close together, and looking very like the outside
ridges of a knitted woollen stocking; but on the inner surface these
ridges are not to be seen, and the general appearance of this inside
is one of horizontal lines. The material of this bag is much closer,
thicker and heavier than is that of any of the others.

The colouring of Nos. 3, 4 and 5 is not put into the netting after
its manufacture, as is done with bark cloth. The string itself is
dyed beforehand, and the lines of colour are worked into the bag in
the process of netting. The colouring is confined to the front of
the bag only, being the part which is visible when the bag is worn
hanging over the back or shoulder. Speaking generally, the colouring
is black; but there is often a little red introduced along with the
black. The pattern is in the general form of parallel horizontal
lines or stripes, which, however, are in places made to recess or
turn downwards or upwards at right angles, and subsequently turn
upwards or downwards again, and then continue horizontally as before,
thus giving variety to the mere design of straight horizontal lines;
and these rectangular breaks are often introduced at more or less
symmetrical intervals. There are other details in these patterns,
which