6 BR[GHAM ON HAWAIIAN FEATHER WORK. 



almost universal custom to place all small (that is movable) idols upon mats, which 

 were often covered with red kapa ; and if wooden or stone gods, how much more should 

 a deity formed of this most precious material be provided with a suitable substratum. 



Kukailimoku. — To the small number of images of this great god and the 



tutelar deity of Kamehameha I. we can now add two more: one from the Oxford Museum 



(which in some wav slipped from mv notes on that wonderful collection, and which \\\y 



FIG. 3. KIKAIUMOKU IN THE OXFORD MUSEUM. 



friend Professor Henry Balfour recalls to my memory by the remarkable illustration 



given in Fig. 3), and the other from the museum of the Natural History Society, 



Barras Bridge, Newcastle-upon-Tvne. I quote from the interesting letter of E. Leonard 



Gill, Esq., the Curator of the Museiim, the following details, and present in Fig. 2 the 



photograph sent therewith : 



"Total height, 32 inches; nieasurenieut along crest, 34.5 inches. This mask [idol], as the 

 photograph shows, has lost all but a few stray feathers : in its present condition it consists of the 

 basket framework, over which is stretched the fine netting into which the bases of the feathers were 

 interwoven. The netting and the feathers were continued into the mouth but not into the e^-es. The 

 workmanship is admirable both for its firm, bold outlines and for the extreme skill sliown in detail. 

 The history of the idol is interesting but incomplete. It formed a part of the museum of Marmaduke 

 Tunstall, F. R S., at Wycliffe in Yorkshire; and on Tunstall's death in 1791 it passed with the rest 

 of the nuiseum into the possession of George Allan, of Blackwell Grange, near Darlington. Tun.stall's 

 collection was here systematised and greatly added to by Allan, and this, the "Allan Museum," was 



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