Dessert, on the other hand, might be plentiful and varied. "Bed-yew-rie" (XIMENIA AMERICANA), thirst-allaying and palate-sharpening; "Top-kie" (Herbert River cherry, ANTEDISMA DALLACHYANUM), resembling red currants in flavour; "Pool-boo-nong" (finger cherry, RHODOMYRTUS MACROCARPA), sweet, soft and appeasing; "Panga-panga," raspberry (RUBUS ROSAEFOLIUS); "Koo-badg-aroo" (Leichhardt-tree, SARCOCEPHALUS CORDATUS), resembling a strawberry in shape, but brown, spicy and hot; "Murl-kue-kee" (snow-white berries of EUGENIA SUBORBICULARIS), vapid, and as insipid as an immature medlar; "Raroo" (CAREYA AUSTRALIS), mealy and biting. Various figs, ranging in size from a large red currant to a tennis-ball, and in colour from white through all the tints from pale yellow and green to red, purple and black, sweet and generally mawkish. The banana would be there in the MUSA BANKSIA ("boo-gar-oo"), although "close up all bone"; but the Davidsonian plum, plentiful on the mainland, would be absent. The scape of the ELETTARIA SCOTTIANA, oozing viscid nectar, might stand as a sweetmeat.
Then, dallying with tomahawks and flat stones with the tough nuts of the "Moo-jee" (TERMINALIA MELANOCARPA), and the drupes of the "Can-kee" (PANDANUS AQUATICUS) to extract the narrow sweet kernels, and sipping the while cordial compounded of the larvae of green tree-ants ("book-gruin"), acidulous and nippy, the men might indulge in after-dinner stories and reminiscences, as the gins and piccaninnies drink heartily of water sweetened with sugar-bag (honey-comb), and chew the seeds contained in the china-blue pericarp of the native ginger—"Ool-pun" (ALPINIA CAERULA).
Many vegetable foods would still be unenumerated, and there would be numerous shell-fish—periwinkles, cockles, mussels, scallops, dolphins, besides crabs. On rare occasions a scrub fowl (the blacks had no reliable means of capturing that wary bird, and when fortune favoured, it was an instance of bad luck on its part), with pigeons, carpet snakes, and sea-birds' eggs might make high tea.
BLACK ART
Time, and diligent search revealed the location on the island of two art galleries, or rather independent studios, where there are exhibited works of distinct character. Tradition points to the existence of a third, the discovery of which gives zest to each exploratory expedition. Possibly it may also display original exploits in the realms of fancy, and so confirm the opinion that the black artists were not mere copyists of each other, but belonged to different schools, each having his own method and allowing his talent free and untrammelled development.
What may be designated the Lower Studio is on the eastern slope, and is only to be approached from the sea in calm weather, the alternative route being a tiresome climb, a long and tormenting struggle through the jungle, and a descent among a confusion of rocks and boulders. It is situated about a couple of hundred feet above sea-level, quite hidden in the leafy wilderness which covers that aspect of the island from high-water mark to the summit of the ridge. Unless the spot was indicated, one might search for it for years in vain, and though I had made frequent inquiries, its existence was made known only by chance, its importance being considered insignificant compared with the other studio, the glories of which had frequently been descanted upon. Taking the sea-route, there is a natural harbour available, just capacious enough for a small dingy, and up above the rocks, swept bare by the surges, a dense and tangled scrub "whereto the climber upwards turns his face," and taking advantage of such aids as aerial roots, slim saplings, and the reed-like growths of the so called native ginger, begins the steep ascent. Where the rock does not emerge from the surface, the black soil is loose and kept in perpetual cultivation by scrub fowl, the wonder being that earth reposes at such an angle. But for interlacing and matted roots all must slide down to the sea.
A few minutes' exertion lands one at the portal of the studio, which is of the lean-to order of architecture, a granite boulder having one fairly vertical face being overshadowed by a much higher rock having a dip of about 60 degrees.
Here originally there were five exhibits. Two have weathered away almost to nothingness, some faint streaks and blotches of red earth, in which medium all the pictures have been executed, alone remaining. Those subjects that are readily decipherable are mutilated after the style of certain much-prized antiques.
Of those which have successfully withstood the ravages of time, two apparently represent lizards, and the third seems to portray a monstrosity—a human being with a rudimentary tail. A German philosopher might possibly build upon this embryonic tail a theory to prove that the Australian aboriginal is indeed and in fact the missing link, and thereby excel in ethnological venture those who merely recognise in him the relic from a prehistoric age of man. Could it not be argued that the picture reveals an act of unconscious cerebration—an instinctive knowledge of ancestors with tails?
However that may be, the unconscious artist took further artless liberties with the human form divine. He had been at pains, too, to smooth down the face of the rock for the reception of the unshaded daubs of terra-cotta, using peradventure the flat stone upon which he was wont to bruise the hot and biting roots of the aroid (COLOCASIA MACRORRHIZA) which formed part of his diet. The utensil lies there at the entrance where he left it; the plants grow in profusion close by among the rocks; but of the artist there is no record, save the crude and grotesque figures in fading red on the grey granite.