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The Material Culture of the Cook Islands (Aitutaki)

Technique of Decorative Border

Technique of Decorative Border.

The technique of the decorative border is overlaid plaiting. The plaiting is rendered finer by splitting the weft strips of the body of the mat into half the width. Thus when the raurahanga has been completed to within four or five inches from the proposed edge of the mat, all the wefts are evenly split from the margin of the completed plaiting and run out to their free ends. The plain wefts of about 8 mm. in width are split into pae wefts of 4 mm. The coloured material is also split into 4 mm. widths to correspond with the pae wefts, which act as foundation wefts. The patterns of the design are worked by arranging the dextral wefts in the two series of recumbent and raised elements demanded by the design, and then placing the pae sinistral in position between them. Upon this sinistral, a coloured strip is laid which thus covers the upper surface of the sinistral. The dextrals are re-arranged into two series for the next sinistral, and upon it another coloured strip is laid. This method is continued throughout. Thus the coloured elements are confined to the passive sinistrals, and do not share in the up and down movements of the page 125
Figure 104.Koviri mat, folded and rolled.

Figure 104.
Koviri mat, folded and rolled.

Figure 105. Koviri mat, lower left corner with bottom end decorative border and left side piu edge.

Figure 105.
Koviri mat, lower left corner with bottom end decorative border and left side piu edge.

page 126
Figure 106. Paretumu mat, showing top left hand corner

Figure 106.
Paretumu mat, showing top left hand corner

Figure 107. Paretumu mat with double decorative borders, top left hand corner.

Figure 107.
Paretumu mat with double decorative borders, top left hand corner.

page 127changing dextrals. By this technique the overlaid coloured elements are not liable to become disarranged and tangled as they would be if associated with the constantly moving dextrals. In the design of the band, the dextrals that cross above the sinistrals show white, while the sinistrals that cross above the dextrals show the colour of the overlaid material.

As the overlaid material shows only on the upper surface of the sinistrals, it is necessary that the plaiting of the pae should take place on what is to be the upper surface of the mat, for the coloured designs show only on the surface.

The body of the mat is usually plaited with the true under surface, or the tua surface of the wefts, upward. Where a number of women are engaged on a large mat, it is usual for some of them to commence a pae border whilst others are still engaged on the uncompleted body of the mat. The edge on which the pae is to be plaited must thus be turned over to expose the true upper surface. For this, a special wooden slab termed a papa is used. It is usually made from the bottom of an old canoe. The one seen in use was 11 feet 10 inches in length and 1 foot 7 inches in width. It is placed with the convexity upwards, across the mat and parallel with the pae edge. The pae edge is turned up over it, and rests on it as on a table. See Fig. 108.

Figure 108.Decorative border being plaited on papa slab.

Figure 108.
Decorative border being plaited on papa slab.

A. Section of papa slab. B. Pae edge.

C. Working edge of uncompleted mat.

Commencement of the Band. The plaiting of the band commences on the left. If the mat is of the koviri type, the left edge of the mat must be continued on in the same line to form the left side edge of the band. This is also done by successively turning in the sinistral wefts as they come page 128to the edge and making them change their course to function as dextrals. There is this difference to the piu twist of the body wefts shown in Fig. 96. There, in order to keep the same surface of the weft uppermost, two turns were made so that the weft was twisted completely round. On the pae edge, only one right-angled turn is made, as shown in Fig. 109A, so that the under surface is exposed after the turn. Thus the sinistral that reached the edge with, its shiny surface uppermost, re-enters the band as a dextral, with its dull surface uppermost. In Fig. 109B, the two lower wefts on the left edge are body wefts, and show the piu twist, but owing to the mat having been turned, they show the opposite twist to that in Fig. 96. The next weft, 3, that reaches the edge has come into the line of the pae commencement. It is split into two, and the lower part, 3a, turned in with a single turn to act as a pae dextral. A pae sinistral, S, passes over it and then the upper part. 3b, takes a half turn over it to re-enter as a pae dextral. As each of the succeeding pae sinistrals reaches the edge
Figure 109. Technique of left edge of pae band in a koviri mat.

Figure 109.
Technique of left edge of pae band in a koviri mat.

it is treated in a similar manner. Fig. 109c. In the narrow width of the band the change of colour only affects the dextrals crossing the triangle formed with the upper left corner of the band, and is not noticed in the more vivid colouring provided by the sinistrals. On the right edge, the dextrals are turned into sinistrals in the same way.
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The Side bands of Paretumu Mats.

Providing Foundation Wefts. So far the end bands of a koviri mat have been dealt with. Here there is no problem as the pae wefts are merely a continuation of the body wefts at either end. It is obvious that to plait the side bands of a paretumu mat, the piu edge must be discarded. Wefts must be free at the sides to provide foundation wefts for the band. On the left edge, only the sinistral wefts could be free and they could only project past the left end dextral. The plaiting would thus recede diagonally from the edge, as shown in Fig. 110, where c c is the end dextral, and AB the line of the desired edge.

Figure 110.Free sinistrals on left edge of mat, diagonal recession of plaiting.

Figure 110.
Free sinistrals on left edge of mat, diagonal recession of plaiting.

As the sinistrals cannot be turned back as dextrals to bring the plaiting to the side edge, AB, the only way out of the difficulty is to add new dextrals along the line AB. This is exactly what was done, Fig. 111. From the marginal dextral, C, the two butt strips, X and Y, have been added in such a way that they supply dextral wefts to engage the sinistrals, and bring the plaiting to the vertical line of the edge AB. The butt ends are to the outside to lock the plaited edge. They are added on the left edge to supply sufficient wefts for a working combination which is carried across to the right edge of the mat. On the right, it is the dextrals that are free, so fresh sinistrals are added to form the edge in a manner similar to the above. When a fresh working strip is taken from the left, a sufficient number of fresh dextrals are added, and so the two side edges are built up as the plaiting of page 130
Figure 111. Addition of dextral wefts for the side band of paretumu mats.

Figure 111.
Addition of dextral wefts for the side band of paretumu mats.

the body progresses. On the completion of the body of the mat, the butt strips are split into their component wefts and thus supply the crossing elements for the ends of the sinistrals on the left, and the dextrals on the right. The butt strips must be long enough to form the pae band and the finishing taviri edge.

The Corners of the paretumu.

Our problem of supplying crossing elements for the four-banded mat does not end with the solving of the difficulty of the side edge. If we refer back to Fig. 111, it is evident that the weft which crosses the corner of the plaiting forms a boundary indicated by the line PQ. Above it along the left edge, there are two sets of crossing elements. To the right of it, along the bottom edge, there are also two sets of crossing elements. To the left of this boundary weft, however, the wefts supplied by the butt strips will all run in one direction. Crossing elements will have to be supplied to fill in the space between the corner of the plaited body of the mat and the point. C, which will form the corner of the completed mat when the two pae bands meet. This condition will exist at each of the four corners.

The problem is dealt with by plaiting the pae bands of two neighbouring borders as far as the crossing elements page 131already provided will allow. This is shown in Fig. 112, where the coarse plait denotes the body of the mat, and the finer plait the pae bands. To simplify the diagram, colour has not been added, the simple check plait is retained and a fewer number of wefts are used than the band actually requires. The parts of the two bands plaited with the crossing elements already provided are those to the left of the boundary line marked by the wefts, PQ, to which attention has already been drawn in the previous Figure. All the original pae wefts to the right of PQ run inone direction, and have to be provided with crossing elements.

Figure 112.Corner of paretumu mat, supplying the crossing elements.

Figure 112.
Corner of paretumu mat, supplying the crossing elements.

The mat is placed so that the corner to be filled in is towards the right of the plaiter, as in Fig. 112. The completed plaiting of the top band in bounded by the last sinistral weft, P. All the original wefts that cross this are dextrals. The last or lowest dextral from the corner of the mat is marked C. A butt strip, R, is split into wefts of the pae width. The dextrals that crossed the last plaited sinistral, P, are left recumbent, and those that passed under it are raised. Into the shed thus prepared, the first weft (1) of the butt strip, R, is placed. The two series of dextrals are now reversed in the usual technique and the second weft of R placed in position. So it goes on until the six wefts provided by R have been used up. It will be noted that, as in the usual technique, the top crossing dextral on each sinistral is left cut of the working combination on the next sinistral in order to maintain the line of the plaited edge. At the lower part, the dextral weft, C, rises and page 132falls throughout to maintain the other boundary of the plaited part. When the last weft of R has been plaited in, another butt strip, S, is brought in. In the Figure only three more wefts are required and the butt strip, S, is split off to the right width to supply these. When the three wefts of S have been plaited in, the two lines of the plaited edges have met to form what is to be the corner of the band.

It will be noted in this technique that the fixed original wefts are the dextrals, which have to keep moving. The new wefts supplied by R and S are the passive sinistrals. As each is laid down in the shed provided for it, the coloured element is laid upon it to continue the pattern of the coloured band.

The butt strips R and S are left sufficiently long to provide wefts for the other side of the unplaited triangle of the corner. The mat is now rotated to the left to bring the unfinished part in front. The butt strips R and S are split into wefts as in Fig. 113.

Figure 113.Second part of paretumu corner.

Figure 113.
Second part of paretumu corner.

It will be seen that the new set of wefts are directed towards the right. They will there fore act as dextrals and be divided into two sets of alternates, whilst the old wefts that cross the dextral Q will be the sinistrals carrying the coloured elements necessary to the design. These coloured elements have already been carried on the sinistrals as far as the crossing weft. Q, and are now simply continued on with them. The plaiting is carried as far as the plaited edge indicated by the arrow, and we have the completed appearance shown in Fig. 114. Though the Figure shows page 133
Figure 114. Completed corner of paretumu mat.

Figure 114.
Completed corner of paretumu mat.

the wefts as fitting in with mathematical accuracy, this did not always happen in actual practice. Owing to slight differences in the width of the wefts, the balance of the two halves of the triangle was sometimes disturbed. The craftswoman did not hesitate to rectify matters by running two wefts together, or inserting a fresh one as occasion demanded. The last wefts from the butt. S, that cross the corner look weak from their short course in the actual plaiting. The finishing technique of the tauiri edge, however, fixes them firmly in position.
Figure 115.Unfinished corner of paretumu mat.

Figure 115.
Unfinished corner of paretumu mat.

page 134

Figures 112 and 113 show the plaiting of the pae, band on the right, as having been brought up to the marginal dextral, Q. This was done to emphasise the two parts of the corner triangle. In actual practice it was usual to commence this border a little way from the corner. This is shown in Fig. 115, where the left side of the triangle has been practically completed but the plaited part of the border on the right is a little distance away from the corner. An undivided butt strip whose wefts have been plaited into the left part of the triangle can be seen.

A finished corner of the mat figured above is shown in Fig. 107.

Fixation of Coloured Wefts.

On the mat side of the band, the coloured sinistrals are fixed by the first row of dextrals that have been split to half the width of the body wefts. The band plaiting commences on the left, and the commencement in a koviri mat with a twisted side edge is shown in Fig. 109. In Fig. 116A, the first band dextral, 1, crosses the first band sinistral, a. The second dextral. 2, is turned back and the second sinistral, b, is placed in position. On the second sinistral, the coloured element is laid. Fig. 116B.

Figure 116.Fixation of coloured elements.

Figure 116.
Fixation of coloured elements.

The second dextral, 2, is crossed over the second sinistral and fixes the end of the coloured weft. Fig. 116C. At the same time, the first sinistral, a, has to be turned in with a half turn to carry on the line of the left edge. To comply with the check technique it is passed over the second sinistral, and functions as a dextral, 3. The check technique now demands that the dextral. 1, be turned back, and as we are moving a stroke to the right, another dextral, 4, is picked up from below. Thus in Fig. 116D, the dextrals 3 and 2 are recumbent and 1 and 4 raised. The next sinistral, c, is placed in position. The black coloured. page 135element which is long has to be returned on the new sinistral. It is therefore turned over the upper edge of the last crossing weft, 3, with a half turn that exposes its under surface, which is not coloured. It is brought horizontally across to the new sinistral, C, and another half turn made to expose the coloured surface and bring it into line with the course of the sinistral on which it lies. The raised dextrals, 1 and 4, are now brought across to complete the movement, and we have Fig. 116E. The recumbent dextrals, 3 and 2, which should have been simultaneously raised, are left down to show the course of the coloured weft. Also, the last sinistral, b, which has reached the side edge, is turned in to function as the dextral, 5. Thus the coloured weft is carried up on one sinistral and down on the next. Its course gradually lengthens until the full depth of the band is reached. On the mat (the side edge and the far edge margins) it is doubled back by the double twist described. When it shortens, the short end is left out at one of the margins and a new strip added on the next sinistral.

Change of Stroke Technique.

So far we have dealt entirely with a simple check stroke. If this were strictly adhered to in the decorative band, the only possible pattern would be a simple check as shown in Fig. 117. To obtain variety of pattern and design,
Figure 117. Simple Check Pattern.

Figure 117.
Simple Check Pattern.

the uniform check stroke had to be reinforced by the addition of other strokes which, cross more than one weft Hence, in the pae band we get variety by the introduction of the twill stroke, where the wefts cross two, three or more wefts, and the varying combinations result in different geometrical designs.
page 136

The general term for the stroke technique of a pae design is kohianga. Kohi is to pick up, and kohianga refers to the picking up of the dextral wefts. Thus, in speaking of a different design, the expression used is "tu ke te kohi" (the picking up is different). Following on this, the naming of the various parts of a design is given to the white elements in the combinations, namely the lines or motives formed by the dextral wefts that have been picked up. It is these, when placed over the coloured sinistrals, that form the various patterns in the design that receive individual names.

The Composition of the Decorative Band.

The colour, apart from white, was contributed by the overlaid sinistrals, and formed diagonal panels of red and black. These elements are passive, and, being regarded as filling or spacing, do not receive names in the designs.

The active white dextrals in a typical band may be divided into three sets—the fixation rows, the borders, and the main motive of the design.

(1.)The fixation rows consist of a single row of check dextrals along each margin of the band. They fix the ends of the turns of the coloured elements in the manner shown in Fig. 116. They do not show up as a clear line of checks owing to the lower corners being crossed by the turn of the coloured element, but they form the limits of the width of the band, Fig. 118a.
Figure 118. Composition of a decorative band.

Figure 118.
Composition of a decorative band.

a Fixation rows of check. b Border rows of twilled twos (ara veri).

c Inner border rows of check (ara maori) d Mesial motive (puna rua).

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(2.)The borders, internal to the two fixation rows, are termed pange. They are for the purpose of adding finish (ei hakaoti) to the mesial and main motive. Fig. 118 shows a typical band with the usual border, or pange, of outer horizontal rows of twilled twos (b) and inner horizontal rows of check (c). The outer rows of twilled twos are called ara veri (the path of the centipede). They may be rows of twilled threes, but the name remains the same. They must be spaced from the fixation rows by a coloured row of twilled twos or threes.

The inner rows of check dextrals are named ara maori. Other patterns may be used instead of the outer rows of twilled twos, but the pange, or border, is always defined internally by a row of checks. The rows of ara maori are thus the orthodox technique for defining the mesial space to be devoted to the main motive of the band.

(3.)The main motive is formed by the grouping of the white dextrals that show in the mesial space between the two horizontal rows of the check ara maori. The motive may be a simple geometrical figure repeated throughout the length of the band or the continuation of a combination. In some cases the plaiter may change his main motive, but this is not usual. There is a large number of motives and variations, some old and many modern. Each motive has its own name, and the band takes its name from the main motive. The mesial area devoted to the main motive is clearly shown in Fig. 118 between the two ara maori (c), whilst the motive (d) is a square standing on one corner and termed punarua.

The Technique of the Design.

By design is meant the combination of the various patterns forming the borders, the mesial motive and the coloured spacing. These form the geometrical picture furnished by the completed band or a typical section of the band. It is the kohianga, or picking up of the dextral wefts, that results in this design. If the technique of the body of the mat, working with a diagonal edge of eight or ten dextrals could be adhered to, the technique of the design would be much simplified. Reference to the lower part of the working edge of the band in Fig. 121 shows that with a working edge of eight dextrals, the fixation row the two rows of coloured spacing, and the two constituents of the first border, or the strip as far as the inner line of page 138checks, could be carried right along the length of the band, It is merely a repetition of one up, two down, two up, two down and one up. When completed, the next working set of seven would complete the mesial motive. In the working space of seven dextrals, the changing strokes of the mesial motive would cause less thought. Then a third working set of eight would complete the band.

But this is not done, for we know that the long coloured elements are not cut to their length in the band, but are carried up on one sinistral and doubled back on the next. This is to avoid working with more than one overlaid coloured strip, which would tangle up along the upper edge of the plaiting. It also saves material. Thus in Fig. 121, the diagonal working edge is the full width of the band with its 23 working dextrals. The whole of these 23 dextrals have to be arranged into two series of recumbent and raised wefts to comply with each detail of the design, ere the single sinistral weft and its superimposed colour strip can be successfully placed in position. The order of the arrangement keeps changing with each movement to add a sinistral, and there is need of constant attention to detail to maintain the accuracy of the design. The technique is thus much more complicated than the simple check plaiting with which we have so far been engaged. It was primitive woman's fancy-work and she took genuine pleasure in the mental and technical exercise involved in the plaiting of the various combinations that were possible.

Though the technique appears difficult to the novice, it was really not so difficult as it seems. On the band of the koviri mat that commences with a straight left hand edge, the design was gradually built up from the left hand corner as the side edge was built up by the ever-lengthening sinistrals. It was here that the calculations were made. Reference to the left edge of Fig. 118 shows that the plaiter was at first merely concerned with the coloured spacing beyond the fixation row. This she decided should be a twilled two. When the sinistral weft had to cross more than two, she devoted her attention to the outer constituent of the pange border, which is again a twilled two. As this is formed by dextrals, they had to be raised. When the growing triangle passed them on the left edge, the coloured spacing of twilled twos came into the scheme, and on each subsequent stroke the two corresponding dextral wefts were left recumbent. Then came the inner constituent of the page 139pange border, consisting of check dextrals, therefore the corresponding dextral had to be raised. This stage of the band is shown in Fig. 119, which is a continuation of Fig. 116.

Figure 119.Commencement of the Band.

Figure 119.
Commencement of the Band.

It shows the doubling of the coloured strip, a, which goes up on one strip and down again on the next from its commencement at b, to its turn on the last sinistral, S. It also shows that the patterns are irregular near the side edge, owing to dextrals having to be used to fix the turn of the coloured element whether it is their turn in the pattern or not. The lower part, however, is clearly defined. As the arrangement of the two series of dextrals is always commenced from above, the weft marked 1, which is part of the horizontal row of checks, must be dropped. To maintain the horizontal line of the checks, the one immediately below (2) must be picked up to take the place over the next sinistral. The next two, 3 and 4, must remain down to form the twilled spacing. Thus 3 is left where it is, and 4, which is up, must be dropped. The next two, 5 and 6, must be up to form the twilled band of the pange border. Of these, 5 is already up, but 6, which is down must be picked up. The next two must be down for the twilled spacing. Of these, 7 is already down, so it remains down whilst 8, which is up, is dropped. This brings us to the fixation weft which is the next to the right of those already in use. Thus 9 is picked up and by coming into the combination our plaiting moves one weft's breadth to the right. Thus, disregarding the wefts above 1 for the page 140moment, we have the wefts numbered 2, 5, 6 and 9 raised. When the next sinistral is placed in position and the coloured element placed upon it, the held-up wefts, by passing over it, continue the horizontal lines of checks, twilled twos and fixation wefts, and the proper coloured spacing is automatically provided. This automatic arrangement is continued with each movement. When the single held up check weft is reached, it is dropped. The next one is picked up and the formula two down, two up, one down and one up is repeated practically by the guidance of the fingers alone.

Above this simple arrangement of the lower border and the fixation row we have reached the area of our mesial main motive. A glance at Fig. 118 shows that the motive consists of three dextral wefts that are raised together from below a crossing sinistral, and are kept raised until three sinistrals have been placed in position. They are then dropped and the next sinistral passes over them. If the wefts have been split evenly, the figure formed is a perfect square with its sides running diagonally. The square stands on one corner. The width of the mesial area between the boundary rows of check, ara maori, must at least be the height of the tilted square. The real base of the square, however, is the edge of the sinistral weft on its left.

Having passed the commencement of the lower boundary of single checks, the question is, when should the main motive be commenced. The answer is, when there are enough dextral wefts (3) between the check row and the part clear of the fixing wefts of the left margin. This condition is shown in Fig. 120A, where the left edge of the Figure represents the line clear of the margin, c, the check row and V, the last sinistral laid down. Between the edge
Figure 120. Commencement of mesial motive.

Figure 120.
Commencement of mesial motive.

page 141 and the last weft of the check row, there are three clear dextrals, 1, 2, and 3. These three dextrals are therefore raised for the passage of the next sinistral, W, Fig. 120B. The arrangement of the dextral for the check row and below it, follows the course already described. The next sinistral, Y, is then arranged for, the motive dextrals still being raised and the arrangement below following the routine laid. On the upper part of X, however, a new position comes into play. The third dextral above the motive dextral is on the line of the upper check boundary row. It must therefore be raised before the sinistral, X, is placed in position. In the arrangement of dextrals for the next sinistral, Y, this uppermost dextral must be dropped to define the first check of the upper check row, and the one below it picked up to continue the horizontal line of the check row. The motive dextrals are left raised, for Y is the third sinistral to pass underneath them.

Coming now to the arrangement of dextrals for the last sinistral, Z, we see that the motive is completed and the three motive dextrals, 1, 2 and 3 must be dropped. Just above them, the appropriate dextral to continue the upper check row is raised. But above this raised check there are now three dextrals. Only two of these can be left down, as spacing between the check and twilled rows of the pange border below is a coloured twilled two. The upper border must follow suit to retain the balance of the band. Hence, of the three dextrals above the raised check, the two nearest are left down to form the spacing, whilst the one furthest away is raised to commence the twilled two horizontal row of the upper border. Another problem awaits us below. Between the completed square of the mesial motive and the lower check row, there are three dextrals, 4, 5 and 6. As the tilted square motive is to be continuously repeated, these wefts are raised to form the base of the next square. With the sinistral, Z, in position, the appearance is as in Fig. 120B. It is now plain sailing. The commencement of the two constituents of the upper border has been established and they move automatically to the right as in the case of those of the lower border. When the coloured element on a sinistral reaches the required spacing by crossing two dextral wefts beyond the upper and last twilled white row, it is fixed by a check stroke and turned back on the next sinistral. Thus the work leaves the left marginal side of the band, and moving page 142to the right, its upper limits are defined by a marginal row of check fixation dextrals as in the case of the lower margin.

Another glance at the full length working edge shown in Fig. 121 will make it more intelligible. The white dextrals, shown in A, crossing the last black sinistral, are all wefts that are raised preparatory to passing over it and dropping and picking up other wefts to make a shed for the next sinistral.

Though counting has been referred to in the setting up of the various parts of the design, it is too slow for ordinary routine. It might be used as a check when a slip has been made. The plaiter, knowing the composition of the design, relies on the service of touch and the relationship of the wefts that are down to those that are raised.

Figure 121.Full working edge of a design.

Figure 121.
Full working edge of a design.

Commencing at the top, she considers the raised wefts in turn. The first raised weft, a, is the check to fix the turn of the coloured element. It is therefore passed over the sinistral and dropped, but to keep the line of fixation wefts horizontal, she picks up the next weft below to form the fixation weft for the next sinistral. It is an axiom in plaiting that lines are kept horizontal by picking up the weft below when the other is dropped. They are kept vertical by picking up the weft above. All the constituents in the present design are horizontal. Passing on to the next raised wefts, we come to the two raised wefts of the page 143twilled row of the upper border. Of these, the upper has crossed two sinistrals. It is therefore dropped. The lower has only crossed one sinistral. It must therefore be kept raised, and the weft below it picked up. This she does without thinking, for to keep a twill horizontal, the upper must be dropped, the lower retained and another picked up. Passing down, the fingers reach the raised single weft of the check row of the upper border. As it is a horizontal check row, there is no need for thought. It is passed over the sinistral, dropped and a single weft below it picked up. We next come to the three wefts of the mesial motive. If not subconsciously aware that there are three sinistrals beneath these, a quick glance assures the plaiter of this fact. She passes the three dextrals over the last sinistral and drops them. But the mesial motive is being continuously repeated in a horizontal line. She therefore picks up the next three wefts below them. Coming to the raised weft of the check row of the lower border, it is dropped and the next one picked up. The next are the two raised wefts of the twilled row of the lower border. Mechanically the upper one is passed over and dropped, the lower one retained and the next weft picked up. The last raised weft is the check fixation weft. It is passed over to fix the coloured element, and the next one picked up to form the fixation weft for the turn of the coloured element on the next sinistral. The next sinistral, S, is placed in position, Fig. 121B. The coloured element, X, is brought over and laid on the sinistral. S, where it will be fixed by a check stroke made by the dextral, b.

It is thus seen that it is only the dextrals that count in the technique. Hence the aptness of the term kohianga, the picking up. So long as the dextrals are kept right in the white patterns of the design, the coloured spacings look after themselves.