conditions and the presence of superior artists and perhaps of more suitable Stone Tools—a suspension, then a summary ending of the art in the North, while it received a greater filip in the parent territory from the introduction of steel tools.

Was there any Melanesian influence on Maori Art? If the centre was as suggested among a people which traditions persist in placing centuries before the fleet of 1350 and connecting with a non-Polynesian strain, should we eliminate the possibility of Western Pacific influence Buck strongly supports the theory of local development and is sceptical of the idea of any Melanesian influence; but in a recent letter telling me of a visit to a village in Fiji, where he had a glimpse of a house with similar forms and ornamentation, he is not quite sure, Elsewhere he has emphasised the conservatism of Maori art. The art of carving exemplified in the work of all schools does show a strong tendency to stick to certain features and conventions. But another strong characteristic of the Maori is copying—the art would not have been so greatly diffused over the Eastern area but for this. He copied a new thing, adopted its characteristic features, then transmitted them through the generations.

Students need a classified collection of photographs There is an urgent need for a comprehensive study and tabulation of material connected with superior Maori houses and ornamentation—carvings, panels and painted patterns—classifying the same, recording the technique of each branch of the art, arranging the matter in such a way as to assist students of Maori art not only to follow the development of the art and the classification according to the schools, but also to understand the principles and essential details of construction. The subject should be pursued down to the present day, as it is certain that building by-laws, and new customs among the Maori people such as sitting on chairs, entertaining from elevated platforms, using dressing rooms, other facilities and convenient doors will perpetuate the modifications in carved halls which have come in in the last thirty years (the M.S. says nine.—Editor.) We want a classified collection of photographs with sub-classes and so forth including material from overseas. Recent adaptation and development should be recorded. If Maori ornamentation is ever to find its way into public and private buildings in this country it may be popularised through the medium of such collections. Figure from ‘Te Hau Ki Turanga’ (N.P.S. Photograph)