As another example I choose the style of embroidery on Haussa shirts (fig. 143). Felix von Luschan has called attention to the rigidity of the general pattern.[95] A narrow elongated field in the left hand upper corner of the design surrounded on the left by a thin white line, on the right by a white field with long pointed triangles, limits the hole through which the head passes. The white disk to the left of it rests, therefore on the right side of the chest, the upper disk on the right shoulder blade. The line dividing the design into an upper and lower part, beginning just at the lower end of the slit through which the head passes, sets off the embroidery on the body of the shirt from that on the large pocket below. The upper rim of the pocket is always decorated with a central design, consisting of a square field with checkered figures, to the left of which are two triangles, to the right, three. In many specimens there is, on the right border of the field, a looped band. The design on the lower part of the pocket and the one on the body of the shirt are, in the main, symmetrical. The three-barbed arrow pattern of the lower border reappears on top followed inside by the same type of rosette. The two designs differ, however, in so far as the three-pointed pattern with the connected loop band is repeated to the right of the slit for the head, turned at right angles to the corresponding portion on the pocket border. This pattern disturbs the symmetry of the upper and lower designs and produces a distortion of the upper one which, however, does not influence the pattern elements. On the pocket below and to the left, is a rectangular band with a leaf design forming an inner border. [95] Felix von Luschan, Beiträge zur Völkerkunde, p. 50. Patterns of the same kind have been figured by Leo Frobenius in “Das sterbende Afrika,” Pls. 58-60.