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Aitutaki
(Place)

One of the Cook Islands.

Mentioned in

Fig. 90. Polynesian carved figures. — a, Rarotonga; b, Aitutaki; c, Tahiti; d, Raivavae; e, Marquesas; f, New Zealand; g, Mangareva; h, Easter Is.; i, Hawaii; j, Tonga Figure 1.—Maps of the Cook Islands: a, locality map of Cook Islands; b, Rarotonga: c, Atiu: d, Aitutaki: e, Mangaia: f, Mauke Figure 10.—Coral and wooden pounders. a, coral pounder, Rarotonga (Bishop Mus., C8883): height middle line, 142 mm.; greatest width of head, 68 mm., thickness 34 mm.; neck, 54 mm. by 41 mm.; base, 124 mm. by 121 mm.; body greatly flared and basal surface very convex. b, side view of a. c, wooden pounder, Aitutaki (Auckland Mus.): height, 292 mm.; base diameter, 63 mm Figure 106.—Triple triangle pattern on working adzes: a , closed triple triangle (British Mus., + 1612), attributed to Rarotonga; c, overlapping triple triangle (Bishop Mus., 8040), Aitutaki. a, haft length 21.75 inches; foot length 4.25 inches, slight dorsal knob (1) on proximal end of shaft; heel with bilateral rounded projections (2), the lashing braid evidently had some fixation turns around the foot and adz butt and then made a couple of vertical turns over heel knobs, after which triple triangle pattern was developed; last vertical turn around shaft, when it reached top was passed around a crossing turn and carried on down to take part in lashing bast collar (3) to shaft; collar (3) formed of strips of hibiscus bast compressed into a roll on back and sides of shaft with free ends hanging down on either side for 94 mm., roll part being 16 mm. in diameter; the braid from adz-head lashing took some wide spirals around collar and some close transverse turns around both limbs below shaft. b, front of heel, shows lateral projection (2, 2) and crossing turns passing over them. c, haft length 15.5 inches, front height 4.25 inches. Haft has rectangular enlargement (1) on haft carved into triangle and lozenge patterns, also on shaft; pronounced heel (2) with median posterior edge and point end cut off; adz head with marked shoulder (3) typical of Aitutaki; pattern with overlapping triangle (4); last vertical turn on far side has braid end tucked in under upper horizontal turns (5); treatment of shaft is post-European Figure 124.—Boom attachments to float. 1, float; 2, boom. a-c, Mangaian and Rarotongan straight boom with long branch and projecting end (3) for lashing with: a, two stays; b, three stays; and c, four stays. d-f, Atiu, Mauke, and Mitiaro curved boom with short branch, no end projection, and stays attached to boom on inner side of branch: d, Mauke with one inner stay; e, Mitiaro after boom with one outer stay; f, Mitiaro fore boom with two outer stays; g, Aitutaki with Y-shaped connective (4) Figure 127.—Aitutaki paddle (Cranmore Mus., Kent). a, front showing carved upper end (1) of shaft, narrow shoulders (2), carving on blade below shoulder (3) and long mesial edge (4). Total length, 2,425 mm.; shaft length, 1,073 mm.; blade length, 1,352 mm.; shaft diameter in middle, 52 mm., at shaft junction, 54 mm. by 45 mm.; blade width at shoulder, 82 mm., at widest part, 342 mm. b, details of front carving (a, 3) 183 mm. deep; these may be analyzed into transverse panels with serrated lower edges and rows of motifs which are V-shaped or triangular. with their points directed downward toward alternate points in the lower edge and also elliptical figures, panels are as follows: 1, lower serrated edge, row of V-shaped figures, row of triangles, upper edge with spaced serrated projections directed upward; 2, serrated lower edge, alternating triangles, and serrated upward projection from upper edge; 3, serrated lower edge, alternating triangles, middle panel projecting upward with two elliptical figures, and narrow serrated panels projecting from upper edge laterally to reach side edges of blade; 4, lower serrated edge, alternatiing triangles, and straight upper edge; 5, narrow transverse panel with both edges serrated; 6, lower serrated edge, alternating triangles, row of elliptical figures, upper edge scalloped in series of convex curves; 7, median vertical panel extending down 100 mm.; upper end in trident shape; three median lozenges with short lateral serrated projections on either side from middle and junction of lozenges; lower end continues into raised median ridge which extends to blade tip. c, carving on back of blade, similar to front (b) without serrated projections from upper border of panels: 1, serrated lower edge, row of alternating V-figures, row of triangles, straight upper edge; 2, panel with both edges serrated; 3, serrated lower edge, alternating triangles, straight upper edge; 4, both edges serrated; 5, serrated lower edge, alternating triangles, scalloped upper edge with double curves (elaboration of upper edge of b, 6). d, carved upper end of shaft, length, 82 mm.; width of each of four surfaces, 73 mm.: each surface has two human figures (1) at upper end, faces without details, hands clasped on abdomen, legs flexed, and bounded below by serrated edge; 2, three raised crescents in two vertical rows, bounded below by serrated edge; 3, row of raised geometrical figures formed of upper and lower lozenges with split tails directed to middle and connected by larger lozenge-shaped body (resembles figures on Mitiaro gods, fig. 228); 4, horizontal panel with both edges serrated, e, various painted motifs: 1, side edge of blade; 2, motif based on the carved motif (b, 7) Figure 128.—Paddle, probably from Aitutaki (W. O. Oldman coll.): 1, narrow shoulder; 2, incised curved lines below shoulders, two double curves with convexity downward; 3, second set of three triple curves with convexity upward; 4, median notched ridge at tip end Figure 129.—Aitutaki paddle without shoulders (W. O. Oldman coll., 368): total length, 78 inches; blade length, 35 inches; blade width, 6 inches, a, upper part of back of blade showing slope to shaft and carving (1). b, lower part of front of blade with long mesial ridge and, above it, four short transverse raised panels with serrated edges. c, enlargement of carving (a, 1): 1, slightly raised horizontal panel with serrated upper and lower edges, row of V-shaped figures with points opposite every alternate point in lower serrated edge, and row of sunken triangles above each V-shaped figure; 2, narrow horizontal panel with serrated upper and lower edges; 3, repetition of lowest panel (1) but with two rows of V-shaped figures instead of one row; 4, lozenges, triangles, and V-shaped figures in horizontal rows. d, enlargement of lower end of blade (b). e, head of shaft, enlarged four sided with human face incised on each surface. (From collection of late Thomas Brynton, F.S.A., York Museum.) Figure 13.—Ironwood thatch implements. a, thatching hook, Mauke (Bishop Mus., C2824): length, 11.5 inches; greatest width, 0.6 inch; greatest thickness, 0.3 inch; length of point from hook notch (1), 0.9 inch. b, thatch needle, Aitutaki (Auckland Mus.): length, 10 inches; greatest width, 0.5 inch Figure 130.—Aberrant paddle, Aitutaki (Peabody Mus., Cambridge, Massachusetts, 55419): length, 5 feet 9.25 inches, elliptical blade with greatest width, 9.75 inches. a, full length. b, blade enlarged: shows mesial ridge (1) extending full length of blade. c, side view of blade: lateral edge (2) of blade, showing projections (1, 1) of mesial ridge on each surface Figure 138.—Fish weirs, Aitutaki. a, pa kiokio, named Taketake: 1, 1, long side walls (kavi'i); 2, short end wall (po'o); 3, inner wall (tumu arero) to complete V-race and enclosure (4) with entrance opening (5); 6, rounded end (putaka); 7, 7, leaf sweeps extending V-shaped race, b, pa tute:1, 1, side walls; 2, opening where net is placed, c, pa tuakirua:1, 1, side walls converging toward shore; 2, stone house where fish take refuge, d, Arani fish weir: 1, 1, side walls here termed rauroa;2, end wall (po'o); 3, front walls (tumu arero) leaving middle opening (4) termed ara ika (fish path); 5, 5, leaf sweeps Figure 143.—Netting technique, Aitutaki. a, 1, 1, upper cord with small ball; 2, 2, lower cord with large coil; 3, suspensory cord; 4, mesh gauge; upper cord (1) is looped over suspensory cord (3) and a loop (5) brought down to upper edge of gauge (4); lower cord (2) passes behind gauge and passes up in front where a loop (6) is passed over upper loop (5) without attempting to pass the large ball through upper loop (5). b, loop (6) is drawn out until it is large enough for the large ball to pass through it; right hand is passed through from below when hand twists left side of loop over to right. c, loop (6) is drawn taut against upper edge of gauge. d, another loop (7) is formed with lower cord (2) and passed under loop (5) of upper cord. e, loop (7) is drawn over upper loop (5) and enlarged to admit passage of large ball; it will be noted that first lower loop technique (6) has now resolved into a half-hitch around upper loop (5). f, large ball with cord (2) is drawn up through open loop (7) to make a second half-hitch. g, second loop is drawn taut to form second half-hitch (7) and in this stage, transverse loop formed by lower cord is shown below upper edge of gauge. h, when cord is drawn more taut, transverse loop below edge of gauge is forced upward (8) and knot resolves itself into a reef knot, which is shown open in first mesh (8) and closed in second (9) Figure 145.—Scoop net without handle ('opai), Aitutaki. a, length, 7 feet 9 inches; greatest width, 2 feet 8 inches; length of crossbar (pukei), 15 inches; distance of crossbar from proximal end, 14 inches; depth of bag net, 5 feet 8 inches; frame (1) of two branches of ironwood each 9 feet 5 inches long, about 1 inch thick at near end and 0.5 inch thick at far end. b, attachment of net to frame (1) by one cord (2) which passes through marginal meshes and at intervals is fastened to frame and cross bar by clove-hitches (3). c, net attachment by two cords, one cord (2) passing through marginal meshes and second cord (3) making loose spiral turns around frame (1) and marginal cord (2) Figure 156.—Darts, Aitutaki. a, tumutumu:1, front end wrapped with bast; 2, back end, with right forefinger placed for throwing, b, teka kiore:1, wooden body; 2, midrib tail. c, teka ta manu'iri, showing string looped over knotted end (1) and other end wrapped around right forefinger. d, teka koki'i with string looped over end knot (1), wound spirally around dart (2), and attached to throwing stick (3) Figure 160.—Aitutaki kites, a, manu teketeke vai'i:1, 2, 3, three hibiscus rods arranged as shown and lashed together at common crossing place; 4, sennit lashed to rod ends to form marginal boundary of kite, bark cloth covered over frame and overlapped over marginal sennit (4); 5, 5, two lengths of sennit lashed to frame and then joined to form tail (6); 7, flying cord attached to frame crossing but if head of kite flew too high, flying cord was advanced to short crossbar (8). b, manu patiki:1, 2, two hibiscus rods crossed; 3, sennit forming margins but not reaching after end of long rod (1); 4, tail; 5, flying cord, c, manu tangi: the framework of three rods (1, 2, 3) and the marginal sennit (4) is exactly the same as in a, as are the two pieces of sennit (5, 5) leading to tail (6) and fixation of flying cord (7); a curved piece of wood (8) is attached to front ends of diagonal rods (1, 2) and a short straight piece (9) is attached to middle junction and middle of curved rod (8). When cloth is applied to frame on curved side of stick (8), a gutter is formed at fore end of frame. A piece of cloth of same size as gutter is attached to free part of sennit (4) in front of curved rod (8) by doubling one end around sennit and sticking overlap with arrowroot paste. When kite is flown, wind passing down gutter makes flap vibrate with a roaring noise Figure 168.—Aitutaki drum (Auckland Mus., 987). a, wooden body (1): height, 495 mm.; greatest diameter near top, 407 mm.; bottom diameter, 350 mm.; interior partition, 146 mm. from bottom. Upper opening edge (2) shows against skin cover; inner diameter, 222 mm. Shark-skin cover (3) in one piece covers upper opening and overlaps from 75 to 100 mm.; single strip of shark skin, 64 mm. wide, placed under outer edge of cover to reinforce part where holes are cut through both layers, 12 mm. from edge, 32 to 39 mm. apart, 32 holes in all. Rectangular slots (4): height, 64 mm.; width, 25 mm.; 25 mm. apart; 57 mm. from bottom edge, 21 slots in all; lower rim, 37 mm. thick. Sennit lashing (5, 6) in pairs, one descending (5), the other ascending (6). Pandanus leaf strip (7) wrapped around bottom rim to hide lashing turns and knots and kept in place by cord (8) passing through slots and around bottom rim. b, drum head fixation: 1, lower edge of shark-skin cover showing triangular hole cut through it; 2, inner strip of shark skin projecting below lower edge of cover, showing in triangular aperture of cover, and with small round hole for passage of sennit; 3, lower part of slot corresponds to cover holes above; 4, lower rim of drum. Sennit is cut into lengths, each over twice length between cover and lower rim. First length of sennit (5) was fixed temporarily on left, passed through holes in cover and underlying strip, and descended to slot below where it passed back around rim (4) to which it was temporarily tied. Another sennit length (6) was temporarily tied to lower rim to left of first length (5) and in same slot. It ascended on left, passed over cover edge, under loop formed by first length (5), and turned to right where it passed through next cover holes to descend to slot below to be tied to lower rim. This procedure was followed with all cover holes working from left to right. Each new length was tied to lower rim in same slot in which previous length ended, and on its left. It ascended over cover edge, under previous loop, passed to next cover hole on right, passed down through it under cover edge, descended to slot below and was tied to lower rim. When last length passed down through last cover hole and was tied to rim, first length (5) was detached from its temporary attachment, and its first half passed back to left to be passed down under loop of last length and to be fastened below to lower rim on left of last length in same slot. As there were only 21 lower slots, to 32 cover holes, 11 slots took two pairs of cords but this did not alter technique of fastening. Each pair of sennit lengths in same slot was drawn as taut as possible and retied to remove slack. Beginning end of left cord was usually left long and after drawing left cord taut and taking a turn around rim, end was passed back in a loop (7) around pair which were drawn downward and forward to further tighten them. End was then tied to rim or to surplus end of its fellow pair. Knots were on back or lower surface of rim, and these as well as turns around rim were concealed by covering front, back, and lower edge with strips of pandanus leaf, as shown in a,7. c, section of lower rim, showing how loop (7), by drawing sennit pair downward and forward from its previous position indicated by dotted lines, further tautens braid pairs Figure 169.—Painted design on Aitutaki drum (Auckland Mus., 987): consisting of sets of crosses, triangles, and vertical lines with spaced bilateral short curves Figure 170.—Painted design on Aitutaki drum (Auckland Mus., 8865): lower end of drum showing slots (1-1) with oblique crosses between slots and above, two sets of oblique lines crossing at ends and with short curved lines on either side of upper crossings; also oblique crosses between upper sets of crossings Figure 171.—Aitutaki drum (Peabody Mus., Cambridge, 86,236): a, height, 672 mm.; upper opening diameter, 240 mm.; bottom diameter, 330 mm.; dividing septum, 265 mm. from bottom: upper set of 15 rectangular slots (1), 75 mm. high and 37 mm. wide; top edge of slots, 197 mm. from bottom edge: lower set of 15 rectangular slots (2), 50 mm. high and 30 mm. wide; ends of lashing braids (3) wound round between slot rows: lower edge (4) clear of lashings. b, top of drum, showing direct lashing with flat braid worked from left to right. c, lower end showing alternating slots of upper (1) and lower (2) rows with incised leaf design (3) between upper slots and opposed triangles (4) forming hour glass effect between lower slots and bottom edge. Faint designs in faded blue paint on body show rows of triangles with bases touching on same line and also small lozenges Figure 19.—Cook Islands seats. a, small Atiu type (Bishop Mus., C8882): seat (1), 19 inches long at sides and 18.75 inches in middle; width, 9.25 inches at ends, 8.75 inches in middle; edge 0.5 inch thick; height above ground, 4 inches in middle, and 6.12 and 6.62 inches at ends: leg (2) curved, heart shaped in section, with edge (3) toward middle transverse line; foot (4) expanded, heart shaped, with apex toward middle line. b, long Aitutaki type (Auckland Mus., 12994): seat (1), 7 feet, 9 inches long, width, 17.5 inches; carved edges; legs (2) straight circular with edge (3) toward middle; no feet, but slight flaring toward lower end. c, seat of Pa Ariki, Rarotonga: height about 18 inches; seat (1), length, 27 inches at sides and 1.37 inches less in middle line; width at ends, 21.62 and 21.25 inches, in middle 20.25 inches; pedestal (2), circumference in middle, 38 inches; base (3) rectangular with corners rounded off, 17 inches by 16.5 inches; stepped edge (4) of seat, 2 inches thick and lower edge of two planes notched (5) Figure 203.—Carved slabs, Aitutaki. a, probably breadfruit wood; total length, 457 mm.; greatest width, 62 mm.; greatest thickness, 18 mm.: top section (1) 112 mm. long with irregular side notches and mesial hole: middle section (2) with serrated sides and triangular depressions opposite alternate serrations; mesial raised longitudinal panel divided into serrated transverse bars: lower plain section (3) 34 mm. wide and 14 mm. thick at bottom end. (British Mus., L.M.S. coll., 112). b, brown wood, 490 mm. long; top width 93 mm.; 24 mm. thick in middle line and 12 mm. at sides: 1, upper carving of three rows of sunken triangles opposite alternate serrations in serrated edge below; 2, two rows of sunken lozenges with holes pierced through two upper, outer lozenges; 3, rest of carving has sunken triangles along side edges with inner sunken triangles opposite alternate serrated points of edge; inner part composed of serrated bands and sunken triangles; 4, lower section plain with thin white tapa wrapped around lower end by two-ply coir cord. (British Mus., L.M.S., 26). c, surface shiny from handling; length 607 mm.; top width 123 mm.; thickness 30 mm.: 1, upper end notched, four projections with chevron-triangle motifs with opposing chevrons below and knobs of uncut wood between, and sunken crescents below. 2, two notched transverse bars. 3, repetition of top pattern (1). 4, rest of carving consists of transverse serrated bars with a median longitudinal panel carved with chevron-triangle motifs in pairs placed sideways. 5, three transverse edges. 6, uncarved lower end, 61 mm. wide at upper end and 32 mm. below, transverse hole, and single side notches, (British Mus., no number), d, back of b, with coir cord ornamented with transverse tufts of coir fiber, 30 mm. long, caught between plies and with lower end doubled around lower edge of slab and covered by thin tapa lashed with bast cord, e, back of c:1, chevron-triangle motifs serrated at base; 2, transverse serrated bars with middle panel of sunken lozenges; 3, crescent motifs; 4, transverse edges. [Catalog states that remains of feathery plumes were formerly attached at lower end.] Figure 205.—Aitutaki carved slabs (Oldman coll.: a, no. 431; b, no.429). a, height, 23 inches; width, 4 inches; thickness, 0.75 inch. Side edges serrated, but sunken triangles do not always coincide with alternate teeth; raised middle panel with short horizontal rows of serrated bars characteristic of Aitutaki; two lowest bars not serrated; carved on one side only; lower end flared at sides, b, dark heavy wood; height, 20.75 inches; width, 5.75 inches; thickness, 1.25 inches. Top widely serrated with pierced lozenges below; sides serrated but sunken triangles opposite each tooth; upper part has four rows of fine chevron-lozenge figures each row reversed to preceding row; lower middle panel has serrated edge (1) with sunken triangles (2) opposite alternate teeth and nine transverse rows of notched bars; two holes in middle at sides for attachment of feathers; lower end widens from above down Figure 209.—Aitutaki god (British Mus., L.M.S., 95). a, front view: light wood, poor carving, total height 1,282 mm.; head length 148 mm.; head width 168 mm.; lower end 180 mm. by 145 mm.; forehead and nose on same plane with wood cut away to form lower plane for eyes and face, eyes and mouth formed by simple excisions, no ears, chin pointed, simple bust, without arms, column cut in transverse levels as shown. b, side view: showing transverse cuts coming around to sides but not reaching back, square cut across upper shoulder level continued around back Figure 210.—Aitutaki goddess (British Mus., L.M.S., no number), a, front: total height including pedestal 525 mm.; head height 162 mm.; pedestal height 60 mm.;shoulder width 155 mm.; hip width 171 mm.; forehead with curved transverse line, with similar line below for eyebrows; nose formed by vertical mesial edge due to meeting of inclined planes of cheeks and bounded below by transverse cut; eyes and mouth formed by simple elliptical excisions; hands without fingers clasped on body; rectangular protruding navel; two legs join pedestal; separate vertical mesial support (1) present; curved excisions and zigzag line carved on front of pedestal, b, side view: showing poorly shaped ear with pierced hole, square shoulder, upper arm attached to body throughout, forearm flexed, protruding abdomen and navel, acutely flexed thighs, foot and toes roughly shown on side of pedestal, c, back: shows perforation of ears, square cut across shoulders, mesial gluteal groove, and mesial support (1) Figure 212.—Aitutaki image (Hunterian Mus., Glasgow, E.395); total height with support, 16 inches. a, front: head pointed with sharp chin; eyes elliptical, formed by two curved incisions and also upper and lower lids; raised nose, narrow; mouth with upper and lower lips denned; small unpierced ears; square shoulders; slender arms with upper arms (1) free of body and small three-fingered hands; upper serrated edge and lower serrated bar on chest; protruding abdomen with low navel (2); high hips (3) with slender slightly flexed legs; forward projecting feet partly broken; figure mounted on column (4) which narrows above to form mesial support (5) to body; main column incised with crescent motifs, b, side: with same numbering as a; note backward piojection of gluteal region (6) and vertical row of rectangular knobs on main column Figure 214.—Aitutaki carved figure (Musee de Hopital de la Marine, Brest, 486). a, front: upper figure (1) with characteristic eyes, brows, nose, mouth, and sharp chin; ornamental band (2) across forehead; pierced ears; slender forearm with three-fingered hand; high hips, slender legs and mesial support (3); lower head (4) similar to upper but with mesial ridge on forehead; square shoulders with square slanting chest and three-fingered hands; lower part (5) with transverse notched ridges from sides. b, back: upper figure (1) with typical head, face, body, hands and slender legs; lower part (2) forms plain panel with side edges and lower border; shows side projections. c, side view: heads with sharp chins, flat chests, slender upper arms, protruding abdomen with low navel (1) on front figure; acutely flexed thighs and mesial support shared by both upper figures; lower front figure shows mesial forehead ridge (2) and flexed leg (3) with projections on leg; transverse notched ridges on lower part Figure 22.—Technique of fine fan, Aitutaki. a, piece of thin cord (1) is tied to handle (2) some distance from distal end; two leaflets (3, 3) are placed with butt ends on either side of handle, and the cord makes turn (4) around them. Another pair of leaflets (5, 5) is placed in position below first pair and fixed with another turn (6) of the cord. In this way, successive pairs are added and fixed with spiral turns of the cord until full number of 16 to 24 pairs of leaflets are added. After last pair is added, cord makes several transverse turns close together to cover butt ends. b, two lowest leaflets (1, 2) are crossed obliquely over what is to be back of handle. c, the two leaflets (1, 2) are carried around to front of handle and again crossed in check. d, turning to the back, next pair of leaflets (3, 4) are treated in same way back and front and so on in succession until all pairs have been dealt with. Handle is thus covered by a check plait up to first attached leaflets. e, front of handle showing oblique crossings with leaflet midribs all on distal side. Each leaflet about 6 mm. wide is split into two wefts, the proximal consisting of the two thicknesses of the soft leaf material and the distal of hard stiff midrib. Commencing on the left with lowest leaflet pair (1, 1′), the near soft weft (1′) is turned up parallel with handle and plaited through wefts above it in check. f, next weft, which is stiff midrib part (1), is bent down a short distance and then turned upward parallel to its soft neighbor (1′) to engage other wefts in check. For next movement, the soft weft (3′) will be turned upward and then the hard weft (3). From here on plaiting is exactly the same as that in rough fans (70, pp. 202-205). g, cut off corner: the hard weft (1), bent in as a dextral, forms a boundary which cuts off the sharp corner usual in Rarotongan fans; other sinistrals on reaching it are doubled back into plaiting. Hard weft (1) is then bent at right angles (2) to form a point, soft weft (3) crosses over it to form interspace with next hard weft (4), which also forms a point, and so with next soft weft (5) and next hard weft (6). Thus, hard wefts form the sawlike basal edge of fan Figure 23.—Rarotongan fan handles (a, plain, attributed to Rarotonga but probably from Aitutaki; b-e, carved with two heads in profile, looking outward from midline of junction): a, round wood, uncarved, 28 mm. in diameter at proximal end, and uncovered part, with shoulder (1) where sennit braid wrapping in lozenge pattern commences; total length of handle including tang, 390 mm. (Cambridge Univ. Mus., Z.6100). b, 1, double head with narrow notch to mark division, eyes formed by five incised curves and mouth by four curves; 2, raised curved flange with square hole in depressed interval between it and heads; 3, raised area pierced by large hole forming segment of circle, and with round hole in interval between it and flange 2; handle beyond for 39 mm. seized with fairly fine two-ply coir cord arranged alternately in two turns of a cord dyed red and an undyed cord; length of carved part 76 mm.; greatest width of heads, 38 mm., and thickness, 19 mm. (British Mus., 6851). c, 1, double head with curved hole marking cranial division; eyes formed by wider incisions than b, and mouth formed by single notch on one side and double notches on other; 2, curved flange closer to heads and notched on either side to form zigzag bar; mesial hole between 2 and 1; 3, raised area with proximal side notched, and large square hole with proximal side also notched; round hole between 3 and 2; 4, extra raised flange with middle part notched to form a zigzag bar, carved part of handle 70 mm. long and greatest width 26 mm.; handle beyond last flange (4) wrapped with fine braid 2 mm. wide, for distance of 40 mm. on diameter of 17 mm.; braid in two sets, one dyed dark red (stippled), other undyed; wrapping arranged in lozenge pattern so that two sides of lozenges in different colors; total length of handle including tang, 342 mm. (British Mus., L.M.S. 218). d, 1, double head divided vertically by narrow groove; eyes and mouth roughly formed by incised curves; 2, curved flange without ornamentation, and round hole between it and heads; 3, plain raised part with large hole, and also hole between it and flange 2; 4, flange with distal edge notched; 5, additional smaller flange with vertical incisions on distal edge; length of carved part 85 mm.; greatest width of heads, 45 mm. due to greater outward inclination of chins; handle beyond carving wrapped with red and yellow sennit in lozenge pattern (Cambridge Univ. Mus., Z.6101). e, 1, double head with eyes and mouth formed by curved incised lines and separated by single vertical line; 2, series of four bilateral angular projections with triangular depressions to the inner side pierced at bottom with round holes; 4, distal raised flange with zigzag raised bar; length of carved part 89 mm.; greatest width of heads, 41 mm.; width of distal flange (4) 32 mm.; handle beyond carving wrapped in red and yellow sennit in lozenge pattern (Cambridge Univ. Mus., Z.6102) Figure 254.—Geometrical carving motifs, Aitutaki: a, serrated edge; b, notched bar with opposing points; c, notched bar with alternating points; d, triangle; e, triangle with curved base and sides, approaching crescentic form; f, lozenge; g, ellipse; h, composite chevron and triangle; i, composite chevron and lozenge; j, incised curves; k, incised semicircles; l, serrated edge with triangles opposite every other edge point, characteristic combination; m, serrated edge, alternate triangles, and short notched bars; n, serrated edge, crescents, triangles, and notched bars; o, chevron-triangle motifs in pairs with intermediate knobs; p, serrated edge of four points with concave plain edge between groups, curved incisions, chevrons with concave curved edge between, and chevron-triangle motifs with knobs left between opposing chevrons; q, chevron-lozenge motifs in opposing pairs with knobs left between chevrons; r, lower edge with convex curves below crescents spaced below every second U-shaped excision in row above, and notched bars (on edge of long four-legged seat); s, row of vertical lozenges with trident above and short notched bars on either side (on paddle); t, combination of three curved flanges, lowest solid with bottom edge notched Figure 256.—Plaited designs on sleeping mats, Aitutaki. a, viti motif. b, ni'oni'o (toothed). c: 1, katikativai; 2, 'etu matariki (little-eyed stars); 3, mata 'a (four eyes). d: 1, pi'a rikiriki (little box-in check); 2, pi'a rikiriki (little box-in twill); 3, 'onu (turtle). e, top, tapuae mokora (duck's feet); bottom, matautua. f, matakeke (teeth of saw). g, matakere, a favorite design, h, full border design with middle main motif of oblique squares formed by three white twilled-threes termed puna rua, a row of white checks (ara maori) on either side, followed by rows of twilled twos (ara veri) and marginal rows in check to fix colored strips. i, karamarama 'akatu (upright windows). j, paka 'onu (turtle's shell). k, karamarama 'akatakoto (horizontal window). l, ta'iri'iri (fan). m, ran nikau in two forms (coconut leaf). n, ran na'e (leaf of fern, Marattia sp.). o, va'anga marama (half moon). p, pupu (bunched wefts). q, maire (leaf of maire fern). r, names taken from suits on playing cards: 1, peti (spade); 2, ata (heart). — Note: the designs were produced by variations in plaiting technique and the names given from some resemblance to natural objects. In some, the design is old as in f, but is given a modern name such as "teeth of a saw" and so with i and j– which are named after the windows of a church. The fan motif (l) may have been copied from a foreign fan and the modern motifs in r were certainly an attempt to represent in straight lines the curved spade and heart suits on playing cards Figure 262.—Fans with natural midrib handles. a, triangular shape: 1, midrib handle; 2, leaflets twisted over leaflet above on same side; 3, plaiting turned in for short distance to end at base (4). b, lozenge shape: 1, midrib handle; 2, leaflets crossed alternately to opposite side; 3, plaiting turned in but instead of ending in a straight base, it is continued to a point (4) to complete lozenge shape and form longer fan. — Note: the Rarotongan and Aitutaki fine fans follow the shape of a, and the crossing leaflet technique of b, whereas the Mangaian fine fans follow the shape of b, and the leaflet twisting technique of a Figure 264.—Polynesian fan outlines. a, Aitutaki. b, Rarotonga. c, Mangaia. d, Tahiti (British Mus., Tah. 69), same technique as a and b. e, Marquesas, curved sides and twilled plaiting. f, Hawaii (Bishop Mus., C9232), found in burial cave, closed leaflets in check, triangular shape conforming to central Polynesian type. g, Hawaii (Bishop Mus., 7965), specialized form of fine fan peculiar to Hawaii. h, Samoa, reversed triangle with straight base on handle and curved sides; twilled plaiting. i, Samoa, reversed triangle with slanting base and curved sides Figure 273.—Polynesian drums. a-d, direct upper attachment; e-h, indirect upper attachment. a, Aitutaki, Cook Islands, see figure 168: lower slot attachment. b, Tahiti, Society Islands (Cambridge University Mus.): lower slot attachment; height, 20.5 inches; upper diameter, 7.75 inches; lower diameter, 8.5 inches. c, Raivavae, Austral Islands (British Mus., L.M.S. coll.): lower attachment to rectangular slots with another row of unused rectangular slots above engaged slots; lower third carved; height, 49 inches; diameter, 14.25 inches. d, Raivavae, Austral Islands (Cambridge University Mus.): lower attachment to carved knobs (1); woodwork carved below knobs and ends in lower row of rectangular slots (2), no longer used for attachment. e, Mangareva (Museé de St. Germain): indirect upper attachment to loops of single circumferential braid and lower attachment simply looped around short projecting knobs (1) on lower rim; height, 41 inches (for details see 77, p. 401). f, Fagatau, Tuamotu (Bishop Mus., B3692): shark-skin cover missing but single circumferential braid (1) remained in position with tautening braids looped over it; lower attachment to hoop (2) and lower ends of braid carried down in some pattern which has become disarranged; height, 47 inches. g, Marquesas (Bishop Mus., 8001): upper band (1) of circumferential braid which passes through alternate slits in skin cover in ten courses to form continuous band, five braids externally and five beneath cover; tautening braids (2) passed through loops so formed and lower ends attached to hoop (3) fastened to body of drum through large (4) and small (5) slots: turns of flat coir plaiting (6) used to cover knots to hoop have slipped out of position, h, Hawaii (Bishop Mus., 4849): tautening braids passed around lozenge-shaped loops (1) formed of olona fiber cord and attached below around vertical parts (2) of open woodwork; height, 15 inches; top diameter, 12 inches Figure 274.—Polynesian wooden images, front and side views. a, Rarotonga, fisherman's god (Peabody Mus., Cambridge, Mass., 53517). b, Aitutaki, goddess (British Mus., L.M.S.). c, Tahiti, sorcerer's image (ti'i) (British Mus., 7047). d, Raivavae, Austral Islands (British Mus., 54-12-29-120). e, Marquesas (Bishop Mus., 3020) f, New Zealand, carved figure with face tattooing pattern (Oldman coll., 14). g, Mangareva, god (La Rochelle Mus., H.498). h, Easter Island, carved figure (moai kava-kava) (Oldman coll., 343). i, Hawaii, goddess (Bishop Mus., 9072). j, Tonga, goddess (Oldman coll., 530) Figure 39.—Aitutaki feather headdress. a, after Williams: 1, rim of coiled cap; 2, tiers of feathers; 3, tier of white feather bunches; 4, tiers of feathers; 5, tail feathers of tropic bird; 6, white feather bunches on sides; 7, tresses of human hair hanging down from back. b, same cap in British Museum: feather ornamentation disarranged from original technique by decay of wooden frame and cord lashings; 3, white feather bunches (some have fallen out); 5, tropic bird feathers showing attachment to clamp; 8, part of frame. c, back of cap: hair tresses (7) pushed aside to expose coiled work of conical apex (9) Figure 4.—Cook Islands wooden bowls. Small beaker bowl without legs, (a, b) Mangaia (Cambridge University Mus., Z.6077), from G. Bennet, July 1824: a, rim opening, length 10 inches, greatest width 7 inches, showing pointed end (1) and base (2) with upward projecting knob (3); outer rim edge rounded off and inner edge inverted and sharp, making greatest diameter a little below upper rim; b, side view, height 3 inches. Medium-sized beaker bowl with legs, (c-e) Aitutaki (Bishop Mus., C8920): c, rim of opening, length 25 inches, greatest outside width 14 inches, rim 0.37 inch thick at sides, 1.12 inches at base (2), no upward projection; d, side view, height at base (2) 4 inches, height at pointed end (1) 5.37 inches; e, under side, showing four short rectangular legs and edge (4) extending from pointed end to under surface. Bowl intermediate between round and beaker, without legs (f, g), Atiu (Bishop Mus., C2833): f, rim opening, length 13 inches, greatest width 11 inches, rim thickness 0.5-0.75 inch., upward rim projection (3) at base (2) 1.75 inches long and full thickness of rim, groove (5) at pointed end (1) 0.25 inch deep; g, side view, height 8.25 inches, showing rim projection (3) and groove (5). h, large round bowl without legs, owned by Parua-rangi Ariki of Atiu. Medium round bowl with legs (i, j), Aitutaki (Bishop Mus., C8919): i, rim opening, 17.5 inches in diameter, rim 0.75 inch thick; j, side view, height 7.25 inches, four round legs. Small elliptical bowl (k, l), Atiu (Bishop Mus., C2834): k, rim opening, length 14.5 inches, width 8.12 inches, shallow pouring groove (5) at one end and sennit loop (6) for hanging up at other; l, side view, height 3.62 inches, in middle and 4 inches at loop end. Large elliptical bowl (m, n), Atiu (Royal Scottish Mus., Edinburgh, 1895.359): m, rim opening, total length 12 feet, opening length 10 feet, 9 inches, outside width 38 inches, inside width 31.5 inches, rim projection (3) not full thickness of rim, carved at both ends with curved lines, one end (1) somewhat sharper and point cut off to form a triangular surface (7) from apex of which a median edge (4) extends downward; n, side view, greatest inside depth 26 inches, capacity Figure 5.—Specialized bowls. Elliptical bowl with end projections (a, b), Aitutaki (Peabody Mus., Cambridge, 55422): a, side view; long end projections (1, 1), ornamental notches along rim, total length 20.75 inches, middle height 3.37 inches; b, rim opening, inside length 14.75 inches, middle width 8.12 inches, ends of projections (1, 1) with 7 transverse notches. Carved round bowl (c, d), Mangaia (Peabody Mus., Cambridge, 53516); c, side view, showing rectangular rim projection (1) and legs (2), height 4.87 inches; d, bottom view, showing carved under surface of four lozenge-shaped legs, diameter from rim projection 12.25 inches, cross diameter 11.87 inches. Carving and painting motifs, e-j. e, carving on bowl (Oldman coll., 459): parallel grooves (1) divide surface into narrow panels for carving; f, carving design on upper surface of rim projection of Cambridge bowl (c. 1); g, painted design on bowl (Oldman coll., 460); h, painted design on Cambridge bowl (c, d); i, painted designs on Mangaian paddle (Peabody Mus., Cambridge, 53508): 1, panels on blade edge identical with bowl design (h), 2, blade motif when painted to meet in rows results in the light figure (3); j, carved K-motif on Cambridge paddle (i) Figure 66.—Pearl-shell breast ornaments from Aitutaki and Mauke. a, Aitutaki: single pearl shell (1) pierced with four holes along upper hinge margin for attachment of coil (2) of 32 strands of two-ply cord of bast fiber dyed brown; at ends of coil folds, a thicker two-ply cord (3) of undyed bast (hibiscus?) is tied for suspension around neck (Auckland Mus., 14488). b, Mauke: part of shell (1) is crescentic in form with upper concave edge; holes bored at each upper corner for attachment of single human hair braid (2) which is passed through holes, and ends tied with overhand knots (Otago University Mus.). c, Mauke: more crescentic form than b; hole at each end to which are tied ends of a suspension braid of human hair; one unengaged hole is pierced below middle of upper edge (Samuela Ariki coll.) Figure 70.—Tattoo motifs from Aitutaki (a-e, recorded by Te Rangi Hiroa; f-i, recorded by Gudgeon). a, papavaro: continuous chevrons on abdomen and front of thighs, sometimes back. b, parepare: on shoulder, chest, and wrist, c, ruru: on wrists and forearms, d, manuta'i: vertical lines running down spine and oblique pairs running upward to mid-axillary line. e, tatatao: face pattern consisting of three series of three curved lines; first series above each eyebrow resembling Maori tiwhana motif, second series from either side of nose around corner of mouth resembling Maori kawe motif, and third series on chin. f, puapua-inano (male pandanus flower), g, komua. h, paeko. i, punarua Figure 71.—Tattoo motifs from Mangaia. a, puwakewake: on chest, shoulder and upper arm. b, manuta'i: encircles forearm with lower points toward hand; c, motupoki: curved double line following curve of hand between thumb and forefinger with ends on proximal phalanx of thumb and forefinger; d, e, ruru or kau: around wrist below manuta'i with points toward fingers; f, mokora: crosses on back of hand and fingers; g, pa'oro: on lower leg from knee to ankle; h, vava'anga: just above knee; i, pote'a: on thigh above vava'anga in sets of four to encircle limb; j, tuata'iti: mesial lines along spine and oblique lines extending to mid-axillary line; resembles Aitutaki manuta'i motif (fig. 70, d); k, maurua: named after a star and tattooed on abdomen and other parts; 1, purauti: face motif with curved base toward ear and apex toward nose; m, ngutu (lip): female pattern on upper lip; n, poe rauti: face pattern with point toward ear; o, mokomoko: heel pattern of curved line on either side of tendo Achillis Figure 8.—Cook Islands basaltic pounders, small bulbous type: a, head with convex curve (Bishop Mus., 6533); b, head with concave curve, Rarotonga (Otago University Mus., D.27.50); c, three-ridged head, Aitutaki (Otago University Mus., D.33.2062); d, unique with four projections, Rarotonga (Otago University Mus., D.35.352); e, three-ridged head, one lateral ridge broken, made of stalagmite, Aitutaki (Auckland Mus., 10713). Dimensions in millimeters: Height Head Neck Base Weight (oz.) a 122 42 34 75 24 b 105 37 28 60 15.12 c 120 47 31 69 20.37 d 125 40 35 80 30.37 e 97 46 33 68 15 Figure 87.—Triangular adz, intermediate, Aitutaki (C2760). a, front: butt and blade in same plane but separated by a raised shoulder; b, back: bevel surface concave with apical point above level of shoulder and median ridge extending to poll; c, right side: showing plane of butt and shoulder on same level with raised shoulder between. d, sections. Weight, 12.5 oz Plate 11 — Fish Traps: A, Anga Trap, Aitutaki; B, Inahi Trap, Aitutaki (Auckland Mus.) C, EEl Trap, Aitu (Bishop Mus., C2850); D, Funnel Entrance of c Plate 13 — Wooden Images of Gods: A, B, Goddess, Aitutaki (British Mus., L.M.S.); C, Staff God, Rarotonga (Cambridge Univ. Mus., 101); D, E, Fisherman's God. Rarotonga (Munich Mus., 191) Plate 14 — Symbols of Gods: A, Aitutaki (British Mus., L.M.S., 28); B, Aitu (British Mus., L.M.S., 572); C, Aitu (British Mus., L.M.S., 94/35); D, E, Mitiaro (British Mus., L.M.S., no Number and 49); F, G, H, Mangaia (British Mus., L.M.S., 30, 32, 31); Mangaia (Oldman Coll., 432) Plate 1 — Groups in Native Dress: A, Rarotonga, Priest Seated in Middle B, Aitutaki, Men Wearing Plaited Baldrics Plate 4 — Fans: A, B, Aitutaki (Bishop Mus., 2167); C, Rarotonga, Back (Cambridge Univ. Mus., Z.6101); D, Cook Islands, Front (British Mus., L.M.S.) Plate 5 — A, Fan, Mangaia (Horniman Mus., 3,280). B, Paretumu Mat, Aitutaki; Left Top Corner. C, Koviri Mat, Aitutaki; Left Bottom Corner. D, E, Fan, Mangaia, E Back of D (Wesleyan Univ. Mus., 372) Plate 7 — Feather Headdresses: A, Aitutaki (British Mus., L.M.S.); B, Rarotonga (British Mus., L.M.S.); C, Makea-Ariki Family, Rarotonga; D, Probably Aitu (British Mus., L.M.S., 120) Plate 9 — Hafted Adzes: A, Aitutaki (Bishop Mus., 8040); B, Mangaia (Wesleyan Univ. Mus., 344); C, Mangaia (Auckland Mus., 1310)

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