468 Transactions. 



The cross-stitch, used decoratively, remained simply kowhiti (crossed) 

 with the Whanganui. Other tribes, if they had lashing names, abandoned 

 them. The East Coast artist likened it to the eyes of a herring (pukanohi 

 aua), whilst the Arawa, combining visional effect with imaginative speech, 

 called it " the seed of a star " (picrapura ivhetu). When the panel was 

 completely covered without colour-patterns the Arawa saw a massing of 

 star-seeds, and the pattern became the Milky Way (Mangoroa). With 

 simple vertical lines, the Whanganui craftsman saw in each separate stitch 

 a resemblance to the distinct drops of water falling from a leak in the 

 roof, and the name tuturu (leaking water) was applied. A similar idea 

 occurred to the Arawa, in that the leaking or dripping water of the 

 Whanganui became, with them, falling tears, and, as metaphor and poetic 

 simile were in everyday use, the pattern was named roimata toroa (the 

 tears of the albatross). 



With the two diagonal lines forming a chevron, the Maori had to seek 

 for a name amongst the natural objects of his environment. For the 

 smaller chevrons, formed by the single stitch, it was hard to find. However, 

 the East Coast people found it in the feet or footprints of a bird. Any 

 of the larger birds would have done, but the early artists settled on the 

 bittern (kautuku) and the swamp-hen (pakura). The small-chevron effect 

 became " bittern's footprints " (tapuae kautuku) and " swamp-hen's feet " 

 (waewae pakura). With the larger-chevron pattern, made with the cross- 

 stitch, the naming was much easier. The commonest name for this pattern 

 is kaokao (side or bend of the ribs). Another common name is maihi (the* 

 facing-boards of the gable of a house). Both names convey the idea of an 

 angle or chevron on a larger scale than the small single-stitch pattern 

 mentioned above. Though attention has been drawn to the fact that 

 this pattern could easily be evolved on the panel, many Maori say that 

 the motive was derived from the similar pattern on floor-mats, belts, and 

 baskets. The floor-mat must be given priority, for plaiting was brought 

 from Polynesia, whereas the panel patterns developed in New Zealand. 

 Koki means "an angle," and whakakokikoki, "to bend into angles," was the 

 name applied to the large chevron pattern plaited in floor-mats and baskets. 

 Whakakaokao is also applied to it. Both these names are used for the 

 panel pattern. It seems probable, therefore, that this pattern was derived 

 from an existing motive furnished by the sister art of plaiting. The other 

 motive and name derived from a similar source, the poutama, or step pattern, 

 has already been mentioned. Of the exact meaning of poutama and its 

 bearing to this figure I can offer no suggestion. 



The triangle required some triangular object to supply a name. This 

 was found in the triangular tooth of the shark. Triangles in the carving 

 of some of the New Guinea people are named after it. The ceremonial 

 peace-axes of Mangaia, besides the K pattern, or tikitiki tangata, have small 

 triangles carved on the handle. They are named ni'o mango (shark's teeth). 

 The shark was a favourite food with the Maori, and the triangular teeth 

 were set in wooden handles as a knife, the mira tuatini. No doubt sharks' 

 teeth gave the name to the triangle amongst the Maoris, but his more 

 figurative language expressed it in larger terms. Hence the Arawa name 

 of niho taniwha (dragon's teeth). The Urewera call the triangle on the 

 decorative borders of cloaks niho pakake (whale's teeth). 



The lozenge motive leads to further complications in naming. The 

 Arawa and Urewera call the lozenge waharua, whether in weaving or in 

 lattice-work. An Urewera woman tried to explain that, in weaving, the 



