where monotony and hacking was the chisel's way; he introduced new words, thoughts, enthusiasm and an awareness of the rapidly revealing shape of the different parts of the carved figure, he gave romance to the great adzemen of the Great Migration period and we seeped ourselves thoroughly in his approach to the great task set before us by Sir Apirana. The School had reawakened from amateurism to proficiency. Eramiha Kapua taught adzing under the following progressive headings: (1) Correct fitting of the handle. (2) Correct shape of the cutting edge. (3) Sharpening and daily maintenance. (4) Holding and swinging motion. (5) Use of feet and eyes. (6) The cutting and chipping. (7) The different types and methods of adzing—(a) the “Ara Haratu”; (b) the Ngaotu and Ngaopae; (c) the Poke, Poka and Ta. (8) Preliminary adzing prior to the actual carving—(a) squaring of the timber, sides and back direct from the bush; (b) rounding off of the sides and preparation of back of milled timber. (9) The art of shaping of a figure in sections by the adze—(a) the head, eyes, nose and tongue; (b) shoulders, hands, arms and body; (c) the legs, knees and feet. (10) Adzing a ridge pole or taahu, poutokomanawa, and poutaahu. 1. Fitting of handle on to adze Eramiha Kapua repeatedly instructed that the adze and the timber should not force one to any unnecessary stooping or unnatural positions, thereby developing rounded shoulders, slow progress, and a limited view of the whole work in hand, but to use the adze freely in a natural standing position by having the work positioned in tarai ana nga tangata mohio o roto o Uawa, engari kaore raua e mohio ki te tarai, ki nga korero tarai ranei. I te ata ka mihi atu au ki a raua, ka ahu taku tira ki Mangatuna ki a Tutekohi Rangi, a, taku taenga atu ko tana korero me ahu au ki Waiapu, ki tatara e maru ana, ahakoa taku ki atu i hara mai au i reira, kotahi tonu tana whakahau, ara ko tenei, “Kei Tikapa, kei a Te Whanau a Pokai te hui nui a te Ringatu, a te tahi o Hanuere, ka mene katoa ki reira nga kaumatua o Tokomaru tae atu ki Waiapu, haere ki reira, kia rongo ai koe i te korero. Kaore matau o Mangatuna nei e mohio ki te mau toki kapukapu.” Kei runga au i taku hoiho ka maro taku tira ki Hiraharama, ki a Te Aowera. I rongo korero au mo tenei hapu o Ngati Porou, ko ratau nga iwi noho i raro i te maru o Hikurangi, ko ratau hoki nana i ngaki nga ngahere o te take o Hikurangi, a he iwi tohunga ki te mahi kainga ki rongahere mo nga tangata tope rakau, te ataahua o te tupunitanga i o ratau wharau, te mahorahora me te mahana hoki, ano te rite ko nga wharepuni tonu o ratau marae, ina hoki, ka tae ki nga ra i manakohia e ratau, ka pohiritia tona tini o nga ropu tope kanataraki hei manuhiri ma ratau, a, he manu, he hinu, he poaka puihi te kai, apititia ki te pikopiko ki te nikau hei peehi. No reira ahakoa te tawhiti o Hiruharama i Mangatuna, koemi ana te haere a taku hoiho, tae atu hoki ki aku tumanako, no te mea, mehemea ko ia nei nga mahi a te Aowera, ki taku whakaaro nui atu nga tamariki tane i reira kei