tion of Mr W. Poutapu, the design is scaled on to the slabs from the photos and the work proceeds with little guidance from the Directors. Further value of the Waitangi photos is the fact that these include samples of the major styles of carving; thus the students are able to work with various schools as students did in the Rotorua School earlier. Another aspect of the work of the Auckland Academy determined by the cosmopolitan nature of the community for which the proposed meetinghouse is being built is the interest shown by other recognised carvers. Hone Kohu and Tony Tukaokao from the Ranginui institution. Hone Taiapa of the original Rotorua School are themselves doing some of the poupous for the Auckland building. They therefore become extra-mural members of the Auckland Academy. In evaluating the significance of the academies as current methods of carrying out instruction in Maori arts and crafts in local Maori communities, one is impressed by the insight of the late Sir Apirana Ngata. Back in 1940, Ngata wrote these words. “To one who has watched the development of this scheme (Rotorua School of Maori Art) it would now seem natural that instruction in Maori Arts and Crafts should take the form of a small body of experts to be financed by the communities actually promoting the building of Maori houses of assembly and general marae improvement. The sequence as Maori leaders see it, in meeting the actual needs, is in the first stage, centralization, to create the experts and then decentralization, according to the demands of interested communities. A possible alternative development is suggested by the idea which has now been adopted, of building a workshop at the Auckland museum … Possible students might now be attached for a time to some of the museums where they would have the benefit of ancient models and of the guidance of interested members of the Museum staff. Probably a combination of the two methods, namely, practical work in the Maori communities and special technical training would be the wisest course”. The Academy scheme centralises the centre of instruction, sets it within local communities desirous of building carved meetinghouses and brings into it expert instructors. The financial burden is shared between the people and the Maori Purposes Fund, with the Adult Education tutor coming in as stimulant and co-ordinator of effort. The writer feels that Adult Education should accept a more full-hearted part in the Scheme than has been shown to date. At least an expert in Maori Arts and Crafts should be appointed to its permanent staff, in the same way that two arts and crafts tutors serve the Auckland area. The Maori tutor can then service the locally established and administered Academies of Maori Arts and Crafts. If this is not done then the people themselves should be encouraged to run their own academies with assistance from the Maori Purposes Fund paid directly to the bodies concerned. The wider question of the future of Maori arts and crafts inevitably comes to mind. There is undoubtedly a fairly wide interest among New Zealanders, although when it comes to a matter of finance the interest becomes a little bit weak Contrary to the belief that Ngata held about the inadequacy of the school as a medium for instruction, it does seem to the writer that in addition to the academies mentioned above suitable courses in Maori art may well be incorporated into the general art and craft course in the Secondary schools and perhaps even in elementary form at the upper primary levels. Lessons in the appreciation of Maori design and colour patterns in carving, tukutuku and kowhaiwhai would be interesting and would certainly add variety and lay a foundation for the future use of carving chisels. The proposed course in Maori studies at the Auckland Teachers College linked with the Auckland Academy of Maori Arts and Crafts on the craft side should go a long way in giving teachers experience in this neglected field. The future effect on the schools would be tremendous. Already at the University there is a course in Maori studies and at least a theoretical acquaintance with Maori art is offered. The Elam School of Art and its counterpart in other cities should consider a place of Maori Arts and Crafts. The stress there seems to be on the universality of art. At the same time an analytical study of Maori art forms may lead to a better appreciation of aspects of an indigenous art. The schools of architecture too can well bring this subject in, especially when considering primitive structural types of building. The field is full of possibilities to an architect unrestricted by preconceived ideas. Perhaps the best place for the advanced tudy of Maori arts and crafts is in the suggested school of design projected for Auckland. One can visualise students both Maori and pakeha making an intensive study of Maori art and working out ways and means of assisting in the construction of contemporary types of carved meeting house as well as suggesting adaptations of the art for use in private and public buildings. Probably slowness in the integration of Maori art into New Zealand cultural life is due as much to the absence of a body of Maori specialists organised for propaganda purposes, as to anything else. The academies seem to offer themselves as organisations which may be used for this purpose. The lack however of full time staff and the poverty of financial background prevent the academies from taking on this extra function. The value of these institutions is found in the fact that they grow out of the needs of local communities and that they belong to the local community. Wise administrators whether in Government departments or in educational organisations such as Adult Education and the Schools would do well to give their support to the Academies of Maori Arts and Crafts.