132 CLUB TYPES OF NUCLEAR POLYNESIA. 
motive in design, the lozenge being the space left unexcavated when two 
sets of triangles are carved in opposition apically; of course, in figure 25 
there is nothing to serve as a guide; the lozenges may have been the 
principal theme and the excavated triangles merely a means toward that 
end, as in figures 28 to 30, and this comports with the far greater fre- 
quency of composition in surface over composition in line. But, on 
the other hand, figure 26 shows that the lozenge was held so objection- 
able by the artist that he did his best to erase it by a scored line. In 
the brilliant designs from the Samoan mushroom club ANSP 15744 
various handsome lozenge types are carved; in figure 30 a lozenge of 
chunamed line is produced by crosses saltire of diagonal lines trans- 
formed into two concentric lozenges of surface by the excavation of 
upper and lower triangles. In figure 29 is found an enrichment of this 
basic motive by the excavation within the inner lozenge of surface of 
opposing triangles divided by a distinct septum. In figure 30, by the 
omission of all the right diagonals of the crosses saitire while retaining 
the outer triangles, a most effective decoration is produced in the 
slanting incomplete stages of the lozenge. Side by side in figure 27 
occur lozenges of surface and lozenges of line, the latter being enriched 
by interior dots. In figures 77, 78, 100, and 103, from the same piece, a 
surface of irregular lozenges derived from cross-cuts 1s obtained; this 
effect, covering a large area, is to be seen in Plate XI, b. Very irregu- 
larly worked out, the same lozenge product of cross-cutting is seen in 
figures 16 and 81. Another form of treatment of the lozenge is seen in 
figures 45 and 56, a continuous line of small lozenges employed in the 
same sense as the zigzag. 
Recurring to the broader aspect of decoration units, the natural 
motive of the pinnate leaf of the coconut is next to attract notice—a 
clear series in figures 14 to 19, both with and without the central stalk 
of the leaf. In figure 14 there is laid before the view the actual leaf, 
one above the other like tiles, and the blank surfaces of the underlying 
base showing through in quadrangular figures where the leaf has been 
nipped short. In figure 15 are composition forms in which opposite 
pairs of leaves with stalks are set within lozenges, and in figures 19 and 
20 are stalked coconut elements entering into composition with other 
units of design. A very bold yet altogether simple treatment of this 
motive is presented in figure 17, in the two bottom triangles of which 
is found a suggestion of the solid quadrangles of figure 14. From the 
simple picture of the trimmed leaflets of the actual coconut it is not 
difficult to find evolution as the decorative value of alternation of 
diagonal lines becomes recognized, and where more than two such 
lines are found it is proper to adopt the common designation of herring- 
bone. In figures 20, 21, and 23 are surfaces of 3 diagonals without 
stalk, and in 23 of 3 diagonals with stalk, in one panel of which the 
pattern with 2 diagonals and the pattern with 3 compound diagonally. 
