observed that the tiki illustrated at the right of Figure 47 has the fingers of the raised hand carefully worked with perforations between the fingers. 
Figure 41This figure has lost its legs. Figure 48 shews part of another remarkable tiki with the upright head that has already been remarked as a departure from the usual form, and with the fingers of the left hand raised to its mouth. It is possible that this attitude is a memorial of the legend of Tamatea's slave who was punished for breaking tapu.
Hei-tiki were difficult to make, and only the most skilful tohungas who were experts in the arts of carving and tattooing undertook their manufacture. A pointed stick, sand and water were the simple tools that they employed, together with the shell of the pipi or common cockle, which was used as a ready-made tool by the Maori craftsmen.
After the stone had been polished, the last operation was the boring of the hole for suspension, a piece of work requiring great care.
The hole, like all other holes pierced in greenstone was, as is mentioned above, made by boring from both sides of the stone, and being usually bored at the top of the head of the effigy, the tiki was normally worn so that it hung upright. But if it so pleased the wearer, the ornament might be worn hanging from that arm which allowed the face to look downward. The chin always pointed downward; that rule was invariable.
