144 CLUB TYPES OF NUCLEAR POLYNESIA. 
The sharply marked V-shoulder characterizes all the figures with the 
semicircular head and side-pieces at the neck, the work of one artist, 
who has carried this angularity so far in one piece as to represent the 
entire trunk by anX. In figure 115 the V-form is shallow and the tips 
of the shoulders are very carefully rounded; in figures 132 and 133 there 
is but the slightest deviation from the right line, and the same is true in 
the other sense in figure 144. That element which I have listed as the 
extra joint is interesting as showing the effort to preserve an observed 
detail. It is clear that some of these artists have been sedulous to 
portray the axilla. Deficient in method, they have arranged for the 
axilla and then have been obliged to extend the upper surface of the 
shoulder in order to make room above for this lower detail. 
The expression of these portraits rests upon posture, for it will at 
once be seen that in not a single instance do we find any attempt to 
present the face or any of its features; accordingly, the arms are a most 
expressive character. 
Hanging loose: Nos. 98, 128, 143. 
Hanging extended: Nos. 111, 122. 
Hanging curved: No. 129. 
Rectangular at elbow: Nos. 106-110, 112, 113, 116, 118-121, 126, 127, 131, 146. 
Acute at elbow: Nos. 99-105, 114, 115, 117, 123-125, 132-135, 137, 138, 142-144. 
Flexed: No. 141. 
Curved overhead: No. 130. 
Triangle overhead: No. 142. 
Rectangularly overhead: Nos. 136, 139, 140. 
The hand is very scantily carved, for in this art of design very much 
is left to inference; but the following list presents the occurrences of 
this member: 
Fisted: Nos. 105, 124, 133. 
3-fingered: Nos. 131, 132, 134-136. 
4-fingered: Nos. 131, 134-136. 
5-fingered: No. 132. 
Thumb: Nos. 98, 117, 132, 135, 138. 
We have seen in the extremely anatomized figure 130 that two marks 
were required to represent the trunk. On the other hand, we seem to 
find dozens of human figures, even brandishing their heavy clubs, 
represented in the extremely unstable position of a squat, with what 
seem to be thighs horizontal and knees angled. It is plain in figure 141 
that no man in that posture could accomplish anything with a two- 
handed club which must weigh all of a stone. Furthermore, we have 
seen in the study of the shoulders the presence in the drawing of an 
extra joint as an art necessity. These three propositions can readily 
be combined into harmonious anatomy. ‘The island artist recognizes 
such a prominent feature in the pelvis and buttocks that he finds him- 
self under the necessity of including it in his trace of the form; there- 
fore he goes beyond nature in its representation. In other words, he 
