WEKA PASS ROCK-PAINTINGS. 61 
figures which Dr. von Haast considers so remarkably like the 
inscription on the Tamil bell, having already stated that I fail to 
see the faintest resemblance between the two. At the same time 
it may be freely confessed that such figures as Nos. 6, 13, 16, 21, 
may be compared by persons of different idiosyncrasies to any 
number of various objects—No. 6, say, to a feather in perspec- 
tive, or a pen, or possibly a flying bat, or a cabbage leaf, and so 
on. A great deal in such enquiries depends upon the first prin- 
ciple—the point of view chosen. No, 21a (the right-hand figure 
of the pair) instead of resembling a Tamil letter, has, to my 
mind, something of the appearance of a restored pterodactyl in 
geological books. But speculation on these points would be 
endless and probably unprofitable. 
On the whole, then, the theory propounded by Dr. von Haast, 
whilst it is very evidently the result of much care and thorough 
desire to rest on actual evidence, and in this contrasts in a most 
favourable manner with the vagaries of Mr. Mackenzie Cameron, 
does not seem to embody entirely satisfactory conclusions ; 
there is even a suspicion about it of an effort to prop up, as it 
were, some former theories. It is by no means my province to 
set up a dogmatic opinion of my own on the subject, yet I think 
there is sufficient importance in these rock paintings to warrant 
the full examination of them and the contribution from any 
observer of the results of his enquiry. My own opinion (which 
is submitted solely in the desire for truth) is a very unpretending 
one. It is founded upon what I believe to be, in such matters 
as these, an axiom of the highest consequence, although by no 
means universally followed out. The golden rule in discussing 
such subjects as the rock paintings ought to be this—that unless 
very plain and circumstantial evidence to the contrary be forth- 
coming, the simplest and most patent solution should be 
accepted. I illustrate my meaning again by the basket of tools 
which I mentioned above. A set of carpenter’s tools found on 
the high road ought, unless there be some collateral circumstances 
pointing distinctly in another direction, to be assumed to be or to 
have been the property of a carpenter, and not of a shoemaker 
or a tailor. And so also in the case of the rock paintings; the 
paint is Maori, the implements and relics found under the ground 
are Maori, the natives in the vicinity have for generations been 
Maori. Therefore, unless some distinct and clear evidence to 
the contrary be forthcoming, the simplest, straightest, and most 
natural conclusion is that the paintings also are Maori. To 
attribute them to fabulous Kahui Tipua is nonsense; to hunt up 
shadowy Buddhist missionaries on the strength of bad grammar 
isridiculous; towandertoadistanceafter castaway Cingalese sailors 
is a waste of time and energy. No reasonable traveller seeing a 
high road leading straight to his journey’s end, would willingly 
leave it to scramble devious over swamps and crags; and the 
same should be the case in this instance. 
My belief is, then, that the rock paintings of the Weka Pass 
are simply the work of some Maori artist or artists, not necessarily 
