Hab. Paraná.
This form is unknown to us, and we can only give a short translation of Burmeister’s description of it. It is said to resemble Geositta, but has a much shorter and perfectly straight beak.
[178.] FURNARIUS RUFUS (Gm.).
(RED OVEN-BIRD.)
Furnarius rufus, Burm. La-Plata Reise, ii. p. 462 (La Plata); Scl. et Salv. Nomencl. p. 61; Durnford, Ibis, 1877, p. 179 (Buenos Ayres); Gibson, Ibis, 1880, p. 16 (Buenos Ayres).
Description.—Above earthy brown, with a slight rufescent tinge, wing-feathers blackish, margined with pale brown; whole of the outer secondaries pale brown, like the back; tail and upper tail-coverts bright ferruginous brown; below white, breast and flanks and under wing-coverts pale sandy-brown; under surface of the wing with a broad sandy bar across the basal portion; bill and feet horn-colour: whole length 7·8 inches, wing 4·0, tail 2·8. Female similar.
Hab. Argentina, Uruguay, and Paraguay.
The Red Oven-bird is an extremely well-known species in Argentina, and, where found, a great favourite on account of its familiarity with man, its loud, ringing, cheerful voice, and its wonderful mud nest, which it prefers to build near a human habitation, often on a cornice, a projecting beam, or on the roof of the house itself.
It is a stout little bird, about 8½ to 9 inches long, with a slender, slightly-curved beak nearly an inch in length, and strong legs suited to its terrestrial habits. The upper plumage is uniform rufous-brown in colour, brightest on the tail; the under surface very light brown. It ranges throughout the Argentine Republic to Bahia Blanca in the south, and is usually named Hornero or Casera (Oven-bird or House-builder), but in Paraguay and Corrientes it is called Alonzo Garsia or Alonzito. Azara could give no reason for such a name; but it seems to me that one need not look for one beyond the fact that this species inspires an affectionate admiration in the country people: I mean in those of Spanish origin, for the bird-killing French and Italians have no tenderness for it. I have frequently been assured by natives that the Hornero is a pious bird, and always suspends its labours on sacred days. With this pretty belief about it in their minds, it is not strange that in some districts they have called it by a human name.
It is resident, pairs for life, and finds its food, which consists of larvæ and worms, exclusively on the ground. It delights in open places, where it can move freely about on the ground; and is partial to courtyards, clean garden-walks, &c., where, with head thrown back and bosom prominent, it struts along with an air of great gravity, lifting its foot high at each step, and holding it suspended for a moment in the air before setting it firmly down. I once saw one fly down on to a narrow plank about ten feet long lying out on the wet grass; it walked gravely to the end of the plank, then turned, and deliberately walked back to the other end, and so on for about twenty times, appearing to take the greatest pleasure in the mere act of promenading on a smooth level surface. When disturbed, the Oven-bird has a loud, monotonous note of alarm or curiosity, which never fails to bring all its fellows within hearing-distance to the spot. The movements of a fox, weasel, or cat in a plantation can always be known from the noisy turmoil among the Oven-birds. At frequent intervals during the day the male and female meet and express their joy in clear, resonant notes sung in concert—a habit common to a very large number of Dendrocolaptine birds, including, I think, all those species which pair for life. In a majority of species this vocal performance merely consists of a succession of confused notes or cries, uttered with great spirit and emphasis; in the Oven-bird it has developed into a kind of harmonious singing. Thus, the first bird, on the appearance of its mate flying to the place of meeting, emits loud measured notes, sometimes a continuous trilling note with a somewhat hollow metallic sound; but immediately on the other bird joining, this introductory passage is changed to rapid triplets, strongly accented on the first and last notes, while the second bird utters a series of loud measured notes perfectly according with the triplets of the first. While thus singing they stand facing each other, their necks outstretched, wings hanging, and tails spread, the first bird trembling with its rapid utterances, the second beating on the branch with its wings. The finale consists of three or four notes uttered by the second bird alone, and becoming successively louder and more piercing until the end. There is an infinite variety in the tone in which different couples sing, also in the order in which the different notes are uttered, and even the same couple do not repeat their duet in precisely the same way; but it is always a rhythmical and, to some extent, an harmonious performance, and as the voices have a ringing, joyous character, it always produces a pleasing effect on the mind.