ADDITIONS AND ORNAMENT. 139 
detail in six of these arcs: the lines are graduated within the arcs and 
are free of any attachment thereto, and in the case of the seventh arc 
the exterior lines are graduated in the opposite sense and are equally 
free. 
If the rainbow motive is feasible in the case of the outward arcs 
it is quite otherwise in the case of the five inward arcs in figures 52 and 
53; yet if my opinion as to the lines and lozenges be correct, it must 
follow that the interpretation of the arc motive must lie in something 
commonly visualized in which position is not essential. If we had to 
do with figure 52 alone the mammary suggestion might arise for con- 
sideration, for that is a frequent motive, but this can not apply to the 
single upward arcs and is naturally contraindicated in figure 53. This 
attempt at interpretation has been essentially through the method of 
exclusion. We lack data upon which to propose a positive interpreta- 
tion of the arc with graduated lines. 
The last of the curvilinear designs to be examined is the loop and tie 
in figures 54 to 56. Two of these derive from the same piece of 
Samoan art; the third and far more elegant employment of the same 
motive derives from Tonga. There can be no doubt as to this diver- 
sity of source, for the Samoan lapalapa and the Tongan paddie upon 
which they appear are absolutely distinctive of the club-forms of the 
two archipelagoes. 
We next take up the pictorial or illustrative decoration of these 
pieces, and, as has been the case in the study of the curvilinear element, 
these are not types, but a collection of every animal figure which has 
been incised upon these clubs. 
Beginning with the quadrupeds, we find but four illustrations from 
land and sea. 
The first is the dog in figure 59, a very gay little figure and unmis- 
takable. Of the mammalia the Polynesian is acquainted with no 
more than five—the dog, the pig, the rat, the bat, and himself. In 
the Pacific the dog takes no part in the chase, for he is characteristt- 
cally too slight to serve against the wild boar and he would be a nuisance 
in fowling with the swing net. Cheerful companion of the savage, 
even as his cheer bubbles out of this little thumbnail sketch, he wags 
his way into the affections and is eaten without a pang. Yet the dog 
is not without honor; he has in the Samoan courtesy speech, in addi- 
tion to his common designation of uli, the two honorific names of 
ta‘ifau and maile, and the latter is employed in celebration of the 
politically and socially important island of Manono. 
The only other terrestrial quadruped included in this gallery of art 
is the lizard in figure 61. It is quite possible that to the merely 
decorative idea there is added in this case an ulterior suggestion, for 
the common lizard carries an element of ill luck. If it falls upon a 
man from the thatch of the roof (Samoa: to‘zailesu) it presages his 
