ventional designs, and distinguishes the qualities and merits of these hand-patterned cottons that constitute the native dress. The sarong, or skirt, worn by men and women alike, is a strip of cotton two yards long and one yard deep, which is drawn tightly around the hips, the fullness gathered in front, and by an adroit twist made so firm that a belt is not necessary to native wearers. The sarong has always one formal panel design, which is worn at the front or side, and the rest of the surface is covered with the intricate ornaments in which native fancy runs riot. There are geometrical and line combinations, in which appear the swastika and the curious latticings of central Asia; others are as bold and natural as anything Japanese; and in others still, the palm-leaves and quaint animal forms of India and Persia attest the rival art influences that have swept over these refined, adaptive, assimilative people. One favorite serpentine pattern running in diagonal lines does not need explanation in this land of gigantic worms and writhing crawlers; nor that other pattern where centipedes and insect forms cover the ground; nor that where the fronds of cocoa-palm wave, and the strange shapes of mangos, jacks, and breadfruit are interwoven. The deer and tapir, and the "hunting-scene" patterns are reserved for native royalty's exclusive wear. In village and wayside cottages up-country we afterward watched men and women painting these cloths, tracing a first outline in a rich brown waxy dye, which is the foundation and dominant color in all these batteks. The parts which are to be left white are covered with wax, and the cloth is dipped in or brushed over with the
