2o8 



Ka Hana Kapa. 



as a sea ^%% (Echinus), or a flat fish hook, were sometimes used, but never with the 

 artistic effect of the Tahitian printer. 



11. Figures or lines arranged in curves (Fig 68, PI. 40). 



12. Masses of color of no definite shape formed b}' beating colored rags of kapa 

 into the wet sheets (PI. 35). 



13. Dots or blotches distributed evenlj' over the entire surface of the sheet or 

 in bands straight or zigzag (PI. 41). 



14. Painted kapa (PI. I). 



All these may be monochrome (commonly black or red) on various grounds, 

 white, yellow, buff, pink. They may also be combined in many wavs. It is not 



FIG. 126. THIN YELLOW KAPA STAMPED BLACK AND RED. BRITISH MUSEUM. 



always easy to see how some of the patterns could have been printed: the "black lace" 

 specimens (PI. 43) for instance, but when this is old or has been kept in a damp place, 

 as in some burial caves, the combining paste loses its adhesiveness and two layers or 

 sheets appear, one white or light brown, the other entirely black punAured with a 

 pointed stick of circular or elliptical section. When these thin sheets are united by 

 a paste oi pia {Tacca pttinattjida) a beautifully uniform surface is the result. While 

 this ingenuity seems noteworthy, and so far as I am aware is not found elsewhere in 

 the tapa-making regions, there may be other equally ingenious processes of which 

 only the results, not the processes, are known to me. 



Of similar construdlion is the pattern in the upper half of Plate K, only here 

 three sheets are required, two of them almost as thin as the beautiful kalukalu 

 (Fig. 128), between which the third, colored and cut into strips, is sandwiched. The 



