tattoo-patterns with those of Polynesia, particularly of the Marquesas Group, serves to mark New Zealand forms as emanating from a different source. The writer has seen no series of illustrations of tattoo-patterns of Melanesia. Is there any series of designs in that region in any way resembling Maori forms? The tara whakairo was known in New Zealand and Fiji, but is not reported from Polynesia. In regard to the designs adopted by the Maori in his wood-carving, some of which are intricate and involved, we look in vain to Polynesia for archetypal forms. These designs bear not the impress of modern development; their general aspect is archaic, and often highly conventional. It seems probable that in some cases they are symbolical, but, unfortunately, no attempt was apparently made to gain an insight into this branch of Maori knowledge while the men who possessed such knowledge were living—a remark that may be equally applied to Maori star lore. It is certain that some of the grotesque semi-human figures, such as the Marakihau and Kekerepo, bear names found in Maori mythology. One outstanding fact is that the Maori did not attempt to represent his gods in his publicly exposed wood-carvings. Of the great number of carved figures in human form to be seen in the first-class house, not one of such figure represented a god, though heroes and mythical creatures were so shown. The carved figures on the slabs of house-walls represented ancestors. In two cases we can trace designs to Melanesia—those of the scroll and the manaia—while another resembling the puhoro is also to be found there. Professor Haddon, in his work “Evolution in Art,” speaks of the occurrence of scrolls and spirals in New Guinea, and remarks, “I suspect that most of the Oceanic wood-carving is due to Melanesian influence.” We can trace some of the wood-carving patterns of the Maori to Melanesia, but not, so far as the writer is aware, to Polynesia. In the textile art of the Maori we certainly encounter rectilinear designs, often largely made up of various dispositions of the triangle. Presumably this is owing to the difficulty of forming curved lines in the curious style of plaiting (not true weaving) employed by the natives of New Zealand. Wherever the Maori used chisel or brush he indulged in curved lines. A trained artist has suggested that the Maori was unwittingly influenced by his surroundings—that the rounded contours of foliage masses and other natural forms caused him to evolve in these isles those curvilinear designs for which his decorative art is remarkable. The writer is unable to discuss this subject, owing to his utter ignorance of this phase of culture; but if analogous conditions obtained in Polynesia, then the rectilinear art of that region would demand rectilinear contours in nature.

We know the curved lines of Maori patterns of painting, as seen on house-rafters, canoes, &c, many depicting graceful and pleasing designs of a superior type. We know the curved-line designs in his tattooing and carving. We also know that the Maori came from Polynesia, that he speaks the Polynesian language, and that he retains many Polynesian customs and myths. Did he, as he stepped ashore here, relinquish his artistic designs, and proceed to evolve others of a totally different type, or did he adopt them from a people already in possession of these isles?

Another interesting object not traceable to Polynesia is the heitiki, a highly prized pendant of singular form known to us all, usually fashioned from the intensely hard nephrite, or greenstone, a task demanding a great expenditure of time and labour. The curious form of this grotesque image is not without its meaning, and tradition states that it originated in very far-away times—in fact, in the days of the gods. Was this archaic form