attempt to exactly reproduce the work of another, but simply borrowed a
broad idea, and thus he often creates new forms.

[53] See LING ROTH, Oriental Silver Work.

Not once did the writer receive a name for any pattern or design shown
in metal work. A careful study of the method of work, of the articles
produced, and of the folk-lore and religious observances connected with
the work in brass and copper brings one to the conclusion that this
class of work is of comparatively recent introduction and that the
instructors in the art were the Samal Moro.

Mention has already been made of the designs incised on combs and other
objects which are afterwards filled with lime. Just here it is
interesting to note that, so far as is known, the southern end of
Mindanao and adjacent small islands, are the only parts of the
Philippines in which this decoration, so typical of Melanesia, is to be
found.

Realistic carvings were seen used in only two capacities. The first in
certain ceremonies, where extremely crude wooden figures were offered to
the spirits in exchange for the sick person (see p. 103), and the
second, the wooden decoys used in hunting doves (See Plate XVIII).

Summing up our present information we can say: first, that the Bagobo
makes use of certain realistic designs which in some cases have become
conventionalized but still retain their former significance; second,
that the greater part of decoration in beads, shell disks, embroidery or
applique, as well as the incised designs in lime boxes and the like,
have no meaning to the people of the present day, and are added only to