with steel needle, fine cotton thread, and a series of small squares composed of the warp and weft of some soft material, was faced with the same problems as the tattooed tokunga, with wooden huki and coarse strip of flax, standing before a panel of squares composed of rigid stakes and rods. In each case the needle could be passed only through the intervals between the two elements at the corners of the squares, and in each case the stitch had to pass diagonally across the square. Experience taught Maori and pakeha alike that the working of the crossed stitch into patterns was the simplest way of combining utility with decorative art. In the pursuance of art the two diverged. The white child, with the larger scope of more squares and the suggestions of teachers, went on to cross-stitching trees and animals. The brown adult, restricted by space and knowing no outside influence, never ventured beyond simple geometrical designs.

The actual stitches used in panel-work may be divided into threc: (1) cross-stitch, (2) single stitch, and (3) overlapping wrapped stitch.

(1.) Cross-stitch.—This stitch is the one most commonly used. The strip, after passing diagonally across the front of the rod corresponding to a square space, was taken round the back of the stake horizontally and, emerging to the front, crossed over the first stroke, forming a cross-stitch as shown in the patterns. According to Williams, this stitch was called pukanohi aua (herring's eyes) on the East Coast. The Arawa called it purapura whetu (star-seeds). Both names seem to be derived from the fancied effect of the stitch and not from the technique. The Whanganui call it kowhiti (to cross). They also apply the term to a special pattern. The Whanganui say that the cross-stitches in a pattern should be of an even number, except of course, where an angular pattern demands a single cross-stitch at the points of the angles. The East Coast people and the Arawa do not seem to be so wedded to even numbers. In Williams's diagram of the poutama pattern from the East Coast the cross-stitches form odd numbers. The same is true of some of the Arawa patterns in the carved house in the Auckland Museum.

(2.) Single Stitch.—In this stitch the strip crossed the squares once. With it, continuous rows of chevrons and lozenges were formed. Williams records that on the East Coast the zigzag lines formed by continuous rows of chevrons are termed tapuae kautuku (bittern's footprints) and waewae pakura (swamp-hen's feet) according as the lines were vertical or horizontal. The lozenges were termed whakarua kopito. The Arawa call the lozenges waharua. With this stitch the single lines are separate and distinct, no other stitch crossing them. So far as I know, not more than three squares were crossed by one stitch. This was probably the result of experience, as too long a stitch would prove an insecure binding, and where unsupported by other crossing stitches would be apt to loosen and be dragged or snapped by catching in other objects.

(3.) Overlapping Wrapped Stitch.—This stitch was primarily used to lash the vertical stake, tumatakahuki, to the middle of the panel. The stitch was made as follows, with the stake in position : Following the course of a single strip as shown in fig. 2, it will be seen that the strip, emerging from the interspace above rod 1, round which it has been wrapped, crosses the stake downwards and to the right. It is pushed through the interspace between rods 3 and 4, on the right of the stake, after having crossed three rods. It is wrapped round rod 3, and emerges to the front through the interspace between rods 2 and 3. It now passes obliquely down to the left, crossing itself and three rods, and passes back in the interspace between