THE CARVED HOUSE OF MATATUA

Hawke's Bay Tribune, Volume XIII, Issue 21, 8 January 1923, Page 2

THE CARVED HOUSE OF MATATUA

FORTY YEARS IN A CELLAR. NEW ZEALAND RECLAIMS ITS TREASURE. London, Nov. 24. In the early .scjffliities of last century Hohaia Matatchokia, chief of the Ngatipukeko tribe, conceived the idea of building a house worthy of the best traditions of his race. His main idea was that it should stand as a'memorial of the reconciliation of the tribes Ngatiawa and Urewcra, between whom there existed much ill-feqling in consequence of murders perpetrated by the latter tribe during the war. Matatehokia consulted with Wepiha Apanui and other Natives, and with Major Mair, but the matter was leftin abeyance for about two years. Then the whole tribe took it up and decided to build a house and represent in its carving all their ancestors. It was completed in 1874. In March, 1875, it was opened by the late Sir ,Donal*l McLean, the Minister of Native Affairs, and many hundreds of ixativcs and Europeans .attended the ceremony. There will be some who may remember the demonstrations on that day. Ju 1879 the New Zealand Government acquired the house and exhibited it at the International Exhibition hold at Sydney. At the close of the exhibition it was perhaps rather unwislcy presented to the Imperial Government in order that a place might be found for it in the South Kensington Museum. As it measured 79ft 6in in length, 41ft in breadth, and 22ft in height, the Museum authorities in London not unnaturally found some difficulty in providing space for its erection. In 1881 the totara sections were shipped to London in the Hereford and the Japan, the former vessel carrying 19 tons of the building and the latter some 47 tons. It was erected in the grounds of the Victoria and Albert Museum, but as extensions were made to the museum almost immediately the Maori house had to be dismantled. It was stored in the . cellars of the museum, and there it has lain forgotten by most people for 40. years. There was a suggestion that it should be re-erected at the Industrial Exhibition in London in 1899, but the idea was abandoned for financial reasons. If space can be found for it nt the British Empire Exhibition it will be a valuable addition to the New Zealand display. Sir Janies Allen has been considering this project, and no doubt •when the permanent officials for the New Zealand section are appointed they will gladly avail themselves of the opportunity of malting use of this valuable example of Maori art, cither us a tea room or a place for housing New Zealand curios. The High Commissioner’s negotiations with the museum authorities arc not complete, but it is understood that they will be rather pleased than otherwise to give back this unwieldy treasure to the New Zealand Government. WMat will eventually become of it is a matter yet to be decided. WOOD. The image on each post represents the ancestor of some tribe or sub-tribe. The principal one is Toi, from whom the whole native race is supposed to have sprung; his figure is carved on the bottom of the middle post, in company with Awa and Toroa. The front pole represents the figure of Kahungunu, ancestor of the Hawke’s Bay natives, Rongowhakaata, ancestor of the Poverty Bay natives, and Te Whatuianiti, another ancestor of tnc Hawke’s Bay natives. The small image represents Te Ngarara, who was killed many years ago while trading off Whale Island. The second smalled image represents Te Maitaranui, grandfather of Wepiha Apanui, and of Mr Faloon, who was muredered at Whakatanc. The carving on the ridge-pole in front of the 'house represents Euamoana and Matearehe, ancestors of Ngatipukeko tribe, also Awatopc, a god. The image on top of' the riuge-pole represents Mokoera, father of Apanui. The twin images on the right hand of the porch represent Taitimuroa and Wahahamama, ancestors of the Patuai tribe. The twin images on the left of the building represent Tarakiuta and Tarakitai. These twins were boys belonging to the Rongowhakaata tribe. Tupurupuru, a chief of Poverty Bay, was by right entitled to the first of the preserved birds—in fact, to a royalty on all birds killed in Poverty Bay; but on these twins reaching maturity he would lose it, as they •were from an elder branch of the family. He, therefore, determined to get rid of them, and accordingly dug a deep pit a’cros a road where the twins were in the habit of spinning tops. One day he sent them out to play, and so they fell into the pit prepared for them, and were killed. The footboard across the front of the porch represents Oniawa, ancestor of the Ngatiawa, and the image on it was carved by a Fijian named Kune, in honour of Thakobau, of Fiji. The posts on the right of the house represent Kiore, I’araheka, Taha, Pakaaho and Hikapchiwai, ancestors of the Ngatiawa; To Khahotararo, ancestor of the Te Kaha natives; Te Imuwhakapuru, ancestor of Tuteao and Raugihouhiri, ancctors of the Ngaitawa; Hikaria, father of Hori Tupaea, chief of Tauranga; Te Rangi Kawehea, ancestor of the chief Rangitukehu, of Rangitaiki; and Matekitatahi, ancestor of the Whanauapanui tribe. The posts on the left side represent Te Rangitumau and Tamaruarangi, ancestors of Ngatiawa; and Te Harawaka, ancestors of Te Whanauupnu. The mermaid is called “Te Makarini,” after Sir Donald McLean. The next post represents Waikapuku, Te Tawha, ITrauw’b.enua, and Tamawhiro, ancestors of the Whanauapanui tribe; Te Hikutu, ancestors of Ngatirangi; Te Kama-a-Pakui, Tahakaiora, and Umutaha, ancestors of the Ngatiawa. On the inside of the porch the figures represent Iratumoana Whetenui, and Kohi, ancestors of Ngatiawa. The totara timbers, some of them 4ft >or sft wide, arc evidently all well preserved, no pernicious iilsocts having injured them during the 40 years they have reposed in the darkness of a London cellar.