ART. 30 DESIGN" AREAS IN OCEANIA KEIEGER 9 



works of art and form a variety of lace. Marionettes of carved wood 

 and imitation leather capes are paraphernalia of the Hulu dance. 



The foundation of the well-known Hawaiian cape is a network 

 of olona, or " native hemp," and to it are attached by means of fine 

 threads of the same material the feathers of native Hawaiian birds. 

 The feathers overlap each other and lie flat, forming a smooth sur- 

 face. The upper and lateral borders, w-hich are corded with a 

 string of olona, are decorated with alternate tufts of red, black, and 

 yellow feathers. The groundwork is yellow, ornamented with cres- 

 cents of black and red feathers. In front are two crescents of red, 

 one above the other, one-half of each crescent being on either margin, 

 and they form the full crescents when the cape is closed in front. 

 The inner surface is without lining and shows the olona network 

 and the quill ends of the feathers. 



The cord of the upper border is prolonged to serve as a fastening 

 at the throat. The yellow and black feathers are obtained from 

 the Oo {AcTvJocercus nohilis). The yellow feathers are of great 

 value, as the bird is comparatively rare, very shy, and difficult to 

 capture. It has but a small tuft of these feathers upon each 

 shoulder. Its general plumage is of a glossy black, and from the 

 breast and back are obtained the black feathers. The Oo is taken 

 alive by means of birdlime ; the yellow feathers are then plucked and 

 the bird released. The red feathers are from the body and neck of 

 the Vestiana coccinea, the most abundant bird of these islands. 



A cape of this description was presented in 1841 to Commodore 

 W. C. Bolton by Kamehameha III, King of the Hawaiian Islands. 

 Capes such as this were formerly the royal robes of state and were 

 considered the principal treasures of the Crown. Length, 17 inches; 

 circumference, upper border, 16 inches, lower border, 66 inches. 

 Accompanying this cape is a cylindrical bag of yellow feathers or 

 leis to be worn on the head. 



Decorative art of the Maori of Neio Zealand.— Th^ Maori are in 

 possession of several distinctive styles and subjects in their decora- 

 tive art. Noteworthy among these is the carving of the so-called 

 tik^^s^n ancestral deity figurine which plays an important part in 

 their cult and decorative art complex. Though a sacred image, the 

 resemblance to the outline of a human foetus is remarkable. Body 

 tattooing is occasional among the Maori but they do a complete job 

 in facial tattoo. The employment by the Maori of incised or applied 

 surface spirals in complex patterns is foreign to the rest of Polynesia. 

 Spiraled designs are etched by them on the outer surfaces of 

 their wooden bowls and trinket or dressing boxes. Their idols and 

 sacred images are carved, however, in true Polynesian style. The 

 figurines representing ancestral deities vary from island to island, be- 



