water containers, since the seepage
lowers the temperature of the contents.

Vessels made in Lakub are often decorated with incised patterns
(Fig. 22, No. 8), but otherwise the Tinguian ware is plain. Chinese
jars are found in every village, and are highly prized, but the native
potters do not imitate them in form or decoration. Had Chinese blood
or influence ever been strong in the region, we might expect to find
the potter's wheel and traces of true glazing, but both are lacking.

_Pipe Making_.--Both men and women smoke pipes, consisting of a short
reed handle and a small bowl. Men are the pipe makers, and often show
considerable skill in the decoration of their product.

The common pipe-bowl is of clay, which has been carefully shaped
with the fingers and a short bamboo spatula. Designs are incised,
and the raised portions are further embellished by the addition of
small pieces of brass wire (Fig. 21, Nos. 4-5). The bowls are baked
in a slow fire, and the mouthpieces are added.

A second type of pipe, or cigar holder, is made of bamboo (Fig. 21,
Nos. 1-3). Designs are incised in the sides, oil is applied, and the
pipe is held in the smoke of burning rice-straw until the lines become
permanently blackened (Fig. 22, Nos. 1-3).

In recent years, Ilocano jewelers have introduced silver pipes, made
from coins. One Tinguian pipe maker has learned the trade, and does a
lively business. He has further beautified his product by attaching
pendants representing fish (Fig. 21, No. 6). Brass pipes of Igorot
origin are sometimes seen, but are not made in this region.

_Method of Drying Hides_.--Hides of carabao, and sometimes of other
animals, are stretched on bamboo frames and are sun-dried (Plate
LV). Later they are placed in water containing tanbark, and are roughly
cured. Such leather is used in the manufacture of the back straps used
by the weavers, and in making sheathes for knives, but more commonly
it is placed on the ground, and on it rice and cotton are beaten out.

CHAPTER X

DECORATIVE ART

In decorative art the Tinguian offers sharp contrast to the Igorot and
Ifugao, both of whom have developed wood carving to a considerable
extent. They also have their bodies tattooed, while the colored
lashings on spear shafts, pipe stems, and other objects show a
nice appreciation for color and design. In all these the Tinguian
is deficient or lacking; he does no wood carving, tattooing is
scanty, while his basket