EXTRA-LIMITAL TATTOO.
Ancient monarchs adopted special marks to distinguish slaves; likewise for vengeance as an indelible and humiliating brand, a certain tattoo denounced him who had fallen into disgrace with a sovereign. Two monks having censured the iconoclastic frenzy of the emperor Theophilus, he ordered to be imprinted on their foreheads eleven iambic verses; Philip of Macedon, from whom a soldier had solicited the possession of a man saved by him from shipwreck, ordered that on his forehead should be drawn signs indicative of his base greed; Caligula, without any object, commanded the tattooing of the Roman nobles.
In the period of the decline of Rome, tattooing was extensively practiced. Regulative laws prescribed the adopted symbols which were a proof of enlistment in the ranks and on which the military oath was taken. The purpose of this ordinance, which continued in force for a long time, was similar to that which authorized the marking of the slaves, since, the spirit of the people having become degenerated, the army was composed of mercenaries who, if they should run away, must be recognized, pursued, and captured. Until recently the practice, though more as a mark of manhood, was followed by the soldiers of the Piedmontese army.
Élisée Reclus (a) says:
Tattooing was in Polynesia widespread, and so highly developed that the artistic designs covering the body served also to clothe it. In certain islands the operation lasted so long that it had to be begun before the children were six years old, and the pattern was largely left to the skill and cunning of the professional tattooers. Still traditional motives recurred in the ornamental devices of the several tribes, who could usually be recognized by their special tracings, curved or parallel lines, diamond forms and the like. The artists were grouped in schools like the old masters in Europe, and they worked not by incision as in most Melanesian islands, but by punctures with a small comb-like instrument slightly tapped with a mallet. The pigment used in the painful and even dangerous operation was usually the fine charcoal yielded by the nut of Aleurites triloba, an oleaginous plant used for illuminating purposes throughout eastern Polynesia.
The following is from Rev. Richard Taylor (c) about the New Zealanders, Te Ika a Maui:
Before they went to fight, the youth were accustomed to mark their countenances with charcoal in different lines, and their traditions state that this was the beginning of the tattoo, for their wars became so continuous, that to save the trouble of thus constantly painting the face, they made the lines permanent by the moko; it is, however, a question whether it did not arise from a different cause; formerly the grand mass of men who went to fight were the black slaves, and when they fought side by side with their lighter colored masters, the latter on those occasions used charcoal to make it appear they were all one.
Whilst the males had every part of the face tattooed, and the thighs as well, the females had chiefly the chin and the lips, although occasionally they also had their thighs and breasts, with a few smaller marks on different parts of the body as well. There were regular rules for tattooing, and the artist always went systematically to work, beginning at one spot and gradually proceeding to another, each particular part having its distinguishing name.
