COULD' S STATUE OF KAMEHAMEHA THE GREAT. 



37 



author's dut}^ to attempt an explanation and fortunately lie lias a fine lay figure in the 

 statue of Kamehameha of which, by the kindness of Mr. Arthur W. Rice of this 

 city, I am able to present one of his fine views of the statue as it now stands in front 

 of the Judiciary Building in Honolulu (October, 1917). Fig. 33. 



A little preliminary history is re- 

 quired. When the Kamehameha had 

 been modeled by Gould, the attention 

 of the Hawaiian Club of Boston, of 

 which I had the honor of being presi- 

 dent for ten years, was called to the 

 completed model and it was noticed 

 that the great Moi was represented 

 wearing a sort of apron: the sculptor 

 was informed that this was by no means 

 a correct costume of the time of Kameha- 

 meha and would appear ridiculous to the 

 modern Hawaiian. Gould then wrote 

 for a photograph of a Hawaiian wear- 

 ing a malo in propria forma. Kala- 

 kaua had recently acquired from its 

 kalni the "Malo of Kaumualii" of which 

 we have given the history, and he select- 

 ed that to be photographed for the sculp- 

 tor's use, providing the model with an 

 ordinary malo at the same time, as was 

 proper. It is supposed that he sent 

 only a front view of the puzzling deco- 

 ration, for while the front of the statue 

 is all right, the use made of the rest of 

 the long band was impossible. 



In the statue the cordon passes from 

 the pendent end up behind the portion 

 used as a waist-band, over the left shoulder, outside the cloak, instead of returning down 

 the back to form the belt as it should have done with the end tucked in to tighten the band, 

 it leaves this belt as an independent member and passes down over the cloak to trail on 

 the ground! (See Fig. 34.) In such a treatment it would have been impossible to 

 keep the long, heavy train in its place on the shoulder of the spear arm, and there is no 

 provision for the belt. If the mamo cloak and the cordon were ever worn together 

 (which is not probable), the sculptor has takea "poetical license" in his disposal of the 



FIG. 34. 



BACK OF KAMEHAMEHA STATUE. 



Photographed by A. W. Rice. 



