Handy — Tattooing in the Marquesas 27 



EXPLANATION OF PLATES 

 (From drawings by the author except where otherwise indicated.) 



Plate I. — Photographs of a tattooed man of the Marquesas. 



The patterns on half the body of Eotafa of Ta'a Oa, Hiva Oa — the most fully 

 tattooed man seen in the Marquesas by the author — the motives being brought out 

 by painting them with black paint. Identical patterns on the unpainted half of the 

 man's body do not appear in the photograph. 



Plate II. — Photographs of a tattooed woman of the Marquesas. 



Typical modern patterns for women, on the body of Tuuakena at Atu Ona, 

 Hiva Oa : A. Front and side view of face, showing lip and ear patterns. B-E. Front 

 and rear views of legs showing patterns on the painted portions. 



Plate III. — Face patterns for men. 



Examples of the Hiva Oa style of three horizontal face bands, ti'a ti'a pu: 1. An 

 unfinished example from Pua Ma'u, Hiva Oa. — 2. From Haka Hetau, Ua Pou, show- 

 ing ciicita motive ((.i). — 3. From Haka Hetau, Ua Pou, showing a half band on the 

 forehead. — 4. From Hokatu, L^a Hiika, showing the motives tiki ae (a), kikomata (b) 

 tiki pu (c), and pariho (inset in c). — 5. From Pua Ma'u, Hiva Oa, showing a band 

 over one eye, mata (a), and a mouth band, mitu kaha (b). — 6. From Vai Paee, Ua 

 Huka, showing the motives vahana ae (a), mata (b), nihoniho peata (c left), name 

 unknown (c, right), detail of c right (e), and the kikutu (d). — 7. from Vai Paee, 

 Ua Huka. — 8. From Hane, Ua Huka. 



Plate IV. — Face patterns for men. 



Examples of the Hiva Oa style of three horizontal face bands, ti'ati'a pu: 

 I. From Omoa, Fatu Hiva. — 2. From Hanavava, Fatu Hiva, showing on inter-band 

 the nihoniho peata motive. — 3. From Hatiheu, Nuku Hiva (after a sketch by 

 E. S. Handy). — 4. From A'akapa, Nuku Hiva (after a sketch by E. S. Handy). — 

 5. From Hana Vave, Fatu Hiva, showing detail of a chainlike design (a). — 6. From 

 Hana Vave, Fatu Hiva, the three bands here called as a whole tou pae. — 7. From Haka 

 Hetau, Ua Pou, showing mata (a), veo (b), kiki pu (c), cnata (d), detail of b (c), 

 detail of d (f). — 8. From Hooumi, Nuku Hiva (after a sketch by E. S. Handy). — 

 9. From Haapa, Nuku Hiva (after a sketch by E. S. Handy). — 10 and 11. From 

 Haka Hau, Ua Pou. 



Plate V. — Face and head patterns for men. 



Examples of various styles of different periods : I. From Hana lapa, Hiva Oa, 

 showing an unusually shaped eye band and an unfinished mouth band. — 2. From 

 Atu Ona, Hiva Oa, showing shoulder and chest patterns mounting the neck to join 

 the face bands. — 3. From Haka Hau, Ua Pou : an unfinished pattern, showing the 

 probable sequence of execution — one eye being allowed to Jieal while half of the 

 mouth was done, and so on. — 4 From Ha'a Kuti, Ua Pou (after a sketch by 

 E. S. Handy). — 5. From Tai o Hae, Nuku Hiva, one of two extant examples show- 

 ing the Nuku Hiva style of an oblique band (pa heke) crossing the face. — 6. A former 

 Hiva Oa pattern (after a description by an Atuona informant). — 7. An old pattern 

 for warriors of all the islands (after a description by an informant of Fatu Hiva. — 

 8. A variant of the ti'ati'a pu, with nostrils covered, belonging to Fatu Hiva and 

 called ihu epo (after a sketch by E. S. Handy). — 9. A pattern formerly used on the 

 crown of the head (after a painting on a sculptured figure which once served as a 

 house post in Ta'a Oa. Hiva Oa, and is now in possession of M. Chadourne of 

 Papeete, Tahiti. — 10. The hue epo pattern, an example of a former style of the people 

 of Tai o Hae, Nuku Hiva (after a description by a Nuku Hiva informant). — 11. An 

 old Nuku Hiva pattern (after a description by an informant of Fatu Hiva). 



