The two pieces are held together closely by bands of rattan coiled around them at equal intervals. A coating of beeswax serves to preserve the wood and at the same time to impart a finished appearance to the sheath. Frequently pot black is mixed with the beeswax, and on the upper and central parts, and on the ends and edges, symmetrical bands of this black paint are applied according to the fancy of the wearer. Other decorations of beads, cotton tassels, and strips of a yellow parasitic plant, are not at all infrequent.
The girdle, which is nearly always of braided abaká fiber, frequently multicolored, and which holds the weapon to the left side of the wearer, passes through a hole on the outer side of the sheath. This hole is made through the central embossed part of the outer piece of the sheath.
A noteworthy feature of the sheath is that it is so made that by pushing the handle to the lower side of the aperture of the sheath, the weapon remains locked and can not fall out or be withdrawn until the handle is pushed back to the upper side of the aperture.
A MAGIC TEST FOR THE EFFICIENCY OF A BOLO
It is very interesting to observe the method pursued in determining the value of the bolo. A piece of rattan the length of the weapon is cut into small pieces, each one, excepting perhaps the last, exactly as long as the maximum width of the bolo. These pieces are then placed in the following positions and in the order indicated by the number. (See fig. 1.) It is obvious that, as a rule, there is one piece of rattan that is not as long as the others. This piece is always set down last, and its position is the determining factor of the test.
In Figure 1 a all the pieces of rattan happen to be equal, there being no short piece. Moreover, there are enough pieces to complete the figure. This combination is not inauspicious in so far as it does not augur evil, but it is thought to be a sure indication of a failure to kill.13
13This combination is called lí-mut.