backbone). The Whanganui named it tukutuku, which is the name applied to the whole panel by the East Coast tribes. In well-panelled houses this pattern passed down the middle of the panel; and, though subsequently mainly decorative, the vertical stake was retained to throw the pattern out in relief. In some panels of the older houses this pattern, with the coloured rods, formed the only decoration. It was usual, however, for the full design to be the middle vertical line of pihapiha mango, with one or other of the patterns already described filling up the panel-space on either side. The panelling of the house Tama-te-kapua at Ohinemutu, Rotorua, consists of the poutama design with the pihapiha mango down the middle of each panel. Te Paku-o-te-rangi, a house belonging to the Takarangi Mete Kingi family at Putiki, Whanganui, has two lines of tukutuku or pihapiha mango, dividing each panel into three parts, in which the tuturu and kowhitr designs alternate. A further variation, shown in Plate LXIX, was the discarding of the stake and the use of the stitch alone for purely decorative purposes. The resulting pattern was exactly the same, except that it was flat. Such a design of five lines is shown in fig. 5 from the carved house Bangitihi in the Auckland Museum.

(2.) Fig. 1, Plate LXVIII, shows an Arawa design where the stitches cross two rods and overlap over the whole surface of the panel. It is called kanohi aua (herring's eyes) and is probably recent.