too lightly and taking notice too of the work and progress of the other learners. When a learner has completed a ten foot long slab from start to finish and it is reasonably done, he shakes off adze shyness, and nervousness, and he will do another slab with confidence and with a will. One of the surprising features of adzing is that at the end of the day there is no body fatigue, and I put this down to the fact that as each section of the work is completed there is a pattern left by the adze worked out in an orderly and regulated manner. We have now completed the preliminary adzing prior to carving of a non-milled slab, now we will take a milled log and prepare it like the first slab. The learner will consider the following points: (1) The correct side to carve on. (2) Scribing the edge to indicate the depth of relief in the carving. (3) Adzing out the back. (4) Marking out the centre and guide lines. (5) The actual adzing which follows on the same lines as the previous unmilled slab. 9. The art of shaping a figure in sections When the learner has acquainted himself with adzing, his next step is adzing out of the different portions of the carving to give the greatest relief possible to those features he or his employers desire. The chisel cannot compare with the adze in finish and symmetrical balance, the lowered slanting eyes, the raised defiant eyebrows, the bold sweep of the head, all three features that enhance and make more prominent the gaping mouth with protruding tongue thrust boldly on to the breast, all these features easily, quickly and smoothly executed by the adze in the hands of an expert, and a learner must go through his paces before he too can do likewise. Once again the learner must watch the expert carefully in all the phases of cutting that he employs, furthered by repeated personal guidance, for not all carved figures are identical in adzing detail. (a). Adzing the head, eyes, nose and tongue. After the preliminary adzing, the figure or figures for carving are drawn out on the timber and these are then chiselled in with a v-shaped chisel as a guide for adze and chisel. The carver then starts to form the brow and eye on one side until completed. before starting work on the other side to balance it. He will adze out between the eyebrow and upper lip. If the relief allowed by the timber is six inches, then the adzing is at least three to four inches deep near the centre (i.e. the bridge of the nose) and as it slopes off to the edge it eases up to an inch. The cut employed at the eyebrow is poka, and at the upper lip ngaopae. The area for the eyes, after taking out quite a bit of timber, is then plotted and marked, and, by alternate use of adze and chisel, this is gradually separated from the brow and upper lip. The greatest concentration of effort and work is that of the eyebrow, and the finished product has a slightly curved result. There is a feeling of satisfaction in doing and completing this part, for whakae to wairua me to ngakau me haere taua, ahakoa kua koroheke ke taua. Waiho i ta te oriori i korero ai hei whakatau ma taua, Ka haere taua ki te mau i te wai-u mo nga tama maha o te iwi Maori, e tangi mai nei ki te kai ma ratau.” Ka mutu, ka noho. Katahi ka tangi te titihaoa o roto o te whare, ka tu katoa, ka waiata ano i a Popo. Ki taku mohio tonu i taua wa, kei taku taha katoa aku tipuna mohio ki te mau kapukapu o te Tairawhiti, kua mate noa atu ra, kei taku taha e korero ana mai, awhitia enei kaumatua, akona a puritia ta raua taonga ka homai nei ki a koe, manaakitia, mauria kia kite te iwi Maori. Kei te miharo hoki ki tenei wahine, nana nei te whakaetanga mo taku tono, engari ia i te wa e tatari ana au kia tu ia ki te korero kei te kuku te po i au. Ina koa kei te ngangahu a, roto i au, kua ea taku powaiwai haeretanga i te rohe o Ngatiporou, kua rite ki ta Wiremu Potae i whakahau ra, “Tomokia nga rohe o nga iwi a whiwhi noa koe ki te tohunga mau toki kapukapu;” Kua tomokia te rohe o te waka nei o Mataatua, a kua whiwhi. Te mutunga o te oriori nei ka mihi katoa matau ki nga tokorua nei, a e hia hoki nga waiata nga patere, i waiatatia, ko tona manaaki hoki tera i nga taonga a taua a te iwi Maori. Ko Eramiha te whakamutunga ki te korero—ka mihi ia ki tana kuia, ki ona whanaunga, a ki au hoki, katahi ka ki mai. “E tama, ko au no Ngati Tarawhai, no Te Arawa, e tika ana ma Te Wairata maua e tuku i runga i te rangimarie, kaati kua puta mai etahi kupu ataahua mo te tono a Ngata ki a maua. Hoatu ki to taua iwi ki a Te Arawa, he ngahuru tenei, ka paenga ra nga hua o te tau ka whaiti, ka hara mai koe ki te tiki mai i a maua. Te ahua nei mate atu maua ki kona, ina hoki te kaupapahaaro o nga hiahia o nga iwi puta noa, a tae atu ki te Waipounamu. Kaati e pai ana, ko to tatau matua ko Apirana kei te matau ki te arahi i te iwi Maori, kia tipu ai, kia pakari ai i roto i te maru o tana kupu e rangona ake nei i te Maoritanga. Ka akona matau e Eramiha Kapua i roto i te kura whakairo ki te mau kapukapu. No te wiki tuatahi o Pepuere 1930 ka tae mai te karanga a