470 Transactions. 



design, however, it will be seen that the cross-stitches are closer together. 

 This is due to the fact that they are stitched round one kakaho stake at 

 the back of the rods, whereas in the other parts, two kakaho are treated 

 as a single element in stitching. The cross-stitches, therefore, in the 

 middle third, whilst just as long as the others, are only half as wide. 

 With this fanciful data the naming craftsman named the groupings of 

 narrow stitches " the coil of string of the kite of Whakatau." It is left 

 to the imagination to see a kite in the upper third of the panel, and the 

 hillock (taumata), from which Whakatau flew the kite, in the triangles in 

 the lower third. In fig. 14 there are very obvious crosses in the upper 

 and middle thirds, the lower one being mounted ou a stepped base, as in 

 a cemetery. This motive was obviously European ; but the name applied 

 was the aka matua — the firm root by which Tawhaki climbed to the 

 heavens in search of his daughter. Since the advent of Christianity the 

 cross is regarded as the way to heaven. Thus we see a modern motive, 

 as far as the Maoris are concerned, with the ideas it suggests, being 

 referred back to a similar idea in Maori mythology, and the Maori name 

 being adopted for the panel design. A lesser imaginative artist might 

 have chosen a ordinary name, but not so the Maori ; and the Maori is not 

 the only artist who has named a picture where the application of the title 

 is hard to follow. 



Conclusion. 



I have to thank the Rev. F. A. Bennet and Mr. J. McDonald for the 

 photographs and Mr. Elsdon Best for the drawings used in this article. If 

 there is too much of theory it is due to the material carefully weighed and 

 thought over, and not to any preconceived ideas. After all, theories, 

 having been given, are meant to be criticized, that more information may 

 be gathered. 



Afterword. 



Since the above was written I find that the waharua pattern 

 (Plate LXVIII, fig. 3) is called papaka (crab) by the Whanganui. 



With regard to the present-day existence of the art, it has disappeared 

 amongst the tribes of Waikato, Maniapoto, and Taranaki. There is a 

 modified survival in the carved house at Te Kuiti, where the designs are 

 painted on the woodwork in the same manner as those at Taumarunui. 



