Of the Bushongo Torday[64] says that the nomenclature is not certain (p. 216). “The Bushongo do not consider the design as a whole, but they divide it into various elementary patterns. They take one of these elements as characteristic of the whole figure and call the whole design by this term. The motives obtained by interrupting woven patterns[65] at regular intervals are built up of small details which are found variously combined in other motives. Therefore, owing to the analytical mind of the natives, the curious phenomenon results that the same name may be given to two designs, apparently quite dissimilar, at least so far as the general impression is concerned, and that the natives of opposite sex will give to the same design different names because either considers a particular element as the principal part.” The closely related patterns fig. 108 _b_ and _d_ are derived from interwoven strands (fig. 108 _a_). The form _b_ is called imbolo (interwoven?); _c_ is called the xylophone and _d_ the foot of Matarma. The Bangayo call the same pattern in carving (_e_, _f_) back and head of the python. The patterns 108 _g_, _h_ are called the knee and _i_ the knot. [64] E. Torday and T. A. Joyce, Notes ethnographiques sur les peuples communément appelés Bakuba, etc. Les Bushongo, Documents ethnographiques concernant les populations du Congo Belge, Vol. II, number 1, Brussels, 1910, pp. 217, 219. [65] i. e. the element consisting of a single warp strand showing between two woof strands and the adjoining similar elements, formed in simple up and down weaving. [Illustration: Fig. 108. Designs of the Bushongo.] * * * * * [Illustration: Fig. 109. Feet of pottery dishes, Chiriqui, Costa Rica.] [Illustration: Fig. 110. Polynesian ornaments.] [Illustration: Fig. 111. Crocodile arrows, New Guinea.]