130 CLUB TYPES OF NUCLEAR POLYNESIA. 
person who will take the pains to plait a braid of three divers colors. 
The primitive design of zigzag with two limiting bands is found in 
figure 20; in the lower panel there are three quite distinct units sepa- 
rated by null spaces; therefore the double banding is visible. But 
inasmuch as in most structural uses the sennit is employed in coils, 
the common picture to the eye is of two bands brought into the most 
intimate approximation; in fact, the band being really an optical 
illusion, the result is the obliteration of one band and the pattern is 
a continuation of zigzag and band in indefinite alternation until the 
end of the pattern is reached witha limiting band. This is found upon 
so many of the clubs as to call for no special reference. In figure 1 
in combination, in figure 2 independently, is found another movement 
in the sennit convention—two zigzags with limiting bands for the 
zigzags aS a pair. This follows the same explanation; it is a picture 
of a five-part sennit, a form frequently occurring in Polynesian handi- 
craft, therefore quite a fit object for representation. In figure 3 a 
finely extended type of band-and-zigzag occurs, and in Plate IV, 
figure 4, a most brilliantly executed unit of the same. That the zig- 
zag is the essential principle of the unit is made clear in figure 42 at 
the left, where broad surfaces of the piece intervene between zigzag 
elements, and it has not been necessary to carve any limiting bands. 
In figure 4 is found an addition which is unique; if but one of these 
triangles were present it might be proper to comprehend it as a partial 
stage in the carving of the general zigzag pattern; but the fact that the 
triangles are found on three adjacent lines and that they arrange 
themselves in line is indicative of purpose on the part of the engraver 
to satisfy some decorative principle which appealed to him. In 
figures 6 to 13 are presented several of the more frequent forms in 
which this prime zigzag unit appears in composite panels of design. 
Sennit itself is found applied to the clubs of Nuclear Polynesia only 
in coil; generally it is not present on the grips; yet the sennit design 
laid on longitudinally is the characteristic ornament of the club-grips. 
It is clear that actual sennit thus applied would hamper, not improve, 
the clutch of the hand upon which life itself is to depend when the 
weapon is to be used. We are, therefore, wholly justified in holding 
the opinion that in the stage of decorative art at which the clubwrights 
have arrived the recollection of utility has quite vanished and that the 
design is employed as pure decoration. 
Figure 5, unique, gives a broadly staggered line for which no explana- 
tion is forthcoming. 
In figures 6 and 7 occur the only examples of a design upon wood 
which is frequent upon the human skin in tattooing; the Samoans call 
it selu, from its resemblance to the long-tined and narrow comb of 
that name. ‘The rudest form is found in series facing one way in 
figure 7; reckoning from below upward the number of teeth—four of 
