22 BOOMERANGS FROM N.S.W. AND QUEENSLAND, 



On taking a genei-al glance over the figures of these Ijoomerangs 

 one is struck with the limited number of designs that appear to 

 have been used amongst the aboriginal artists, notwithstanding 

 that so far as detail goes no two are precisely alike. The designs 

 are confined to the loop, half-loop, rhomb, oval, cross, rectangular 

 bars, and semilunate, festoon, and zig-zag patterns, with modifi- 

 cations of one or the other. The chevron or herring pattern is 

 also often met with. Circles and spirals are conspicuous by their 

 absence on boomerangs. True it is the incised work of our 

 Aborigines is devoid of that finish and delicacy of execution seen 

 iu the carvings of many other dark races — for instance, compare 

 some of the beautiful designs employed by the Dyaks to ornament 

 their wood work. At the same time the incised patterns of our 

 Aborigines have a character of their own not to be mistaken for 

 those of any other race. 



Whenever natural objects are represented they are always to a 

 greater extent recognisable as such, and do not seem to be 

 degenerate representations of a higher and more advanced art 

 previously existing, the realism being maintained and not 

 abandoned. Writing on the " Decorative Art of Torres Straits," 

 Professor A. W. Haddon says* : — " We see that the animals are 

 always represented individually, and are not utilised for the purpose 

 of making patterns, or of telling a story, or for conveying infor- 

 mation." At present there is no evidence to show that figures of 

 the animate creation were otherwise used hj our Aborigines on 

 their boomerangs. 



In the majority of instances the designs run parallel to the 

 longer axis of the boomerangs, although not in all. Etched 

 designs appear remarkable by their absence on this class of 

 weapon, so far as my observation goes, although they are met 

 with on some Womerahs; neither does there seem to be that 

 appreciation of the grotesque that forms so marked a feature in 

 carvings from New Zealand and the Pacific Islands. One very 

 noticeable character exists throughout the whole series, without 

 exception, the emargination and produced centre of all the apices. 



* R. Irish Acad. Cunningham Mem. 1894, No. x. p. 65. 



