460 Transactions. 



backbone). The Whanganui named it tukutuku, which is the name applied 

 to the whole panel by the Bast 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 hoivhiti 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 Rangitihi 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. 



Post-European Designs. 



It is extremely difficult to draw the line of demarcation between original 

 Maori patterns and those of post-European date. The Maori patterns 

 already described are very simple, and the same motive is used in regular 

 sequence throughout the field of the panel. In the case of the house Te 

 Paku-o-te-rangi at Whanganui, already mentioned, though there are two 

 motives on the one panel, they are separated into definite areas by vertical 

 stakes (tumatakahtiki) and an arrangement of coloured rods. The post- 

 European panels are more complicated, have more than one motive, and 

 are combined less uniformly, though they may be symmetrical in one or 

 more directions. From these distinctions it will be seen that the two 

 classes conform to J. L. Myres's * definition of patterns and designs : " If a 

 motive, or any combination of motives, is used in regular sequence it forms a 

 pattern. Motives combined less uniformly compose a design, which may be 

 sijmmetrical in one or more directions, or otherwise adapted by the balance, 

 rhythm, or porportion of its parts to decorate a given field, more or less 

 spacious, but of definite shape." Though the terms may have been used 

 somewhat loosely in this article, for practical purposes we may say that the 

 old Maori work consists of patterns, and the post-European of designs. 



The second distinguishing feature of post-European work, in many panels, 

 is the introduction of non-Maori motives. By the arrangement of lines and 

 spaces the Maori geometric combinations went as far as chevrons, triangles, 

 and lozenges. The conservatism of his art prevented him from going 

 farther, though other geometric figures could easily have been produced. 

 With the advent of the European other motives were introduced, such as 

 squares and octagons. Once the old patterns were departed from, lines 

 and spaces were combined in various ways and obeyed only one rule, that of 

 symmetrical balance in a horizontal direction. In some panels we can see 

 where the craftsman, through a miscalculation, did not get his design quite 



* Notes and Queries on Anthropology, p. 203. Royal Anthropological Institute. 1912. 



