an old design, named kowhiti by the Whanganui. This is their name for the cross-stitch; but as applied to the design it conveys the idea of having crossed or leaped over spaces or squares. It is the commonest design in the meeting-houses of the Whanganui River. The Arawa have a more fanciful name—roimata (tears). In the example fig. 2, Plate LXVI, it will be seen that the general effect is a series of lozenges, but the lozenge name was never applied to it.

(3.) Another simple effect is vertical lines of ones or twos separated by blank spaces of a like number. The latter is seen in fig. 3, Plate LXVI. A variation of this is shown in fig. 4, Plate LXVI, where the lines, after crossing twelve rods, are continued down another twelve in the line of the blanks and then back to the original lines. These are Arawa designs, and are known by the poetic name roimata toroa (albatross-tears). The Whanganui have a similar design, which they call tuturu (leaking water).

(4.) The lowering or raising of the alternate vertical lines of “albatrosstears” and the introduction of short horizontal lines to connect the vertical ones led to an alteration of the pattern and resulted in the step-like design shown in fig. 1, Plate LXVII. This is a widely-distributed design, known as pontama both in the east and west. Of the meaning of the word I can get no satisfactory explanation. It is a very common pattern plaited in baskets and floor-mats, and also figures in the decorative borders of Rarotongan floor-mats (moenga). The motive was obtained from plaiting. In the example figured the design is closed by coloured stitches between the white, but in many cases the designs are left open. Pukehika, of Whanganui, maintained that it was not old as applied to panels.

(5.) From vertical and horizontal lines we pass to diagonal lines producing a continuous chevron or zigzag effect. The design might be closed or open, and the line of chevrons might run horizontally or vertically. In either case the design was called kaokao (side of the thorax) by the Arawa and East Coast people. The idea is derived from the bend of the ribs at the side. Fig. 2, Plate LXVII, shows a closed horizontal design, and fig 3, Plate LXVII, an open vertical one. With reference to fig. 3, Plate LXVII, viewed from either side, it will be seen that it is a continuous line of chevrons running vertically and enchanced on either side by repetition of its generating-lines.

(6.) Reference to fig. 3, Plate LXVII, shows that the chevrons are enchanced on either side. The elimination of the enchancement on one side would result in the effect being a series of continuous triangles although the motive is chevron. Fig. 4, Plate LXVII, shows a horizontal series of continuous chevrons, the generating-lines of which are composed of lines of two white cross-stitches and enhanced on the lower side by lines of two coloured stitches. The height of the chevron permits of only one white cross-stitch to represent the second line of enhancement. The effect, as stated above, is a continuous series of triangles, but the motive is chevron. This design is named niho taniwha by the Arawa (niho, teeth; and taniwha, a fabulous reptile).

(7.) Further evolution of the chevron design is shown in fig. 4, Plate LXVIII. On a wider panel, by producing the lines of the chevrons or making the points of the second vertical row coincide with the points of the first, the effect produced is a series of lozenges running down the middle of the panel. Both the lozenges and the original chevron motive forming the sides of the lozenges are enhanced internally by repetition of their generating-lines. The example figured is a closed design except for the small