134 CLUB TYPES OF NUCLEAR POLYNESIA. 
panel, simple in figures 18, 39, and 48, compound in figure 12. Tri- 
angles which result as an end-product of other design are recognizable 
in some few instances; thus in figure 26 mention has already been 
made of the artist’s objection to the lozenge and his correction thereof 
by a carefully scored line; the result is a series of triangles in all save 
one of his lozenges, where his tool failed to bite; triangles as an end- 
product of the coconut-leaf design have been pointed out in connection 
with the brilliant example in figure 17, in which a triangle represents 
each wing of the pattern; in figure 92 the coconut-leaf end-triangle 
is found single and combining both wings; in figure 16 this finial 
triangle has become the important element and the merest suggestion 
of the coconut-leaf is discoverable, and even that supported by sub- 
sidiary triangles which have lost all of the motive. In figure 4 note 
has been made of the possibility that the three triangles may represent 
merely a transitional stage in the carving of the basic zigzag, yet it 
is quite clear that the triangle was a satisfactory ornament in the 
interruption of the general design. At last a group of designs is 
reached in which the triangle is carved for its own beauty of form, 
and is recognized as an agreeable unit of ornament. ‘The simplest 
instance is in the series of small triangles in figure 22, each triangle 
independent of its neighbor and all in the same apical direction, of 
which the drawing gives two opposed instances. This is of the type 
of serration which has already been examined; it differs in the essential 
element of the base-bar which characterizes the serration unit. The 
very carefully elaborated Samoan mushroom club (Plate I g) gives 
an excellent instance of triangle decoration in figure 42. As can be 
seen upon the general view, each wing of the head is treated with two 
longitudinal rows of triangles. ‘The inner series is set staggered along 
a common base-line, with the free apices pointing in alternation inward 
and outward, and these triangles are simple. The outer series con- 
sists of two rows engaged; the inner row pointing outward is simple, 
the outer row pointing inward is compound. ‘The artist’s scheme of 
composition of the latter triangles calls for a convention of 5 rows of 
subsidiary triangles with an increment of 1 in each row to 5 at the 
base. In the five triangles in this rubbing, the first not having been 
rubbed entire and the matter not of sufficient moment to call for a com- 
plete collation of the whole club, it is observed that the upmost triangle 
is obscured in the apex of the composite; the series are 1—2-3-3, 
I3S3-4-4) 152-2933 1-23 to on 2-3 the pence reece 
being produced by increasing the size rather than rigidly numerically. 
In the same club still another triangle design occurs which combines 
the use of surface and line to develop the pattern. There are two 
lines of compound triangles engaged; in the upper line each triangle 
consists of a relatively broad line on each of the engaging faces and a 
much thinner line along the outward base, and each carries an interior 
