The uncivilized races of men in all countries of the world; vol. 2 of 2 / Being a comprehensive account of their manners and customs, and of their physical, social, mental, moral and religious characteristics

by J. G. Wood

One of these tombs may be seen in the background of [illustration No. 1], on p. 860, containing the portrait of an old priest, and another is shown in the [view of a village] which will be given on a future page.

Within the pah is often erected a monument or mausoleum of the dead. A very beautiful example of this kind of tomb was erected in the pah of Rangihaeta to the memory of E’ Toki, the mother of Raupahara.

It was nearly semi-circular in shape, and the body was placed in it in an upright position. It was covered with a roof, squared at the corners, and projecting like a verandah all round, and sloping toward the back. The central tomb, the roof, and the posts which supported it, were all covered with the most elaborate arabesque pattern, mostly of a spiral character. Paint was liberally used on it, that on the central tomb or coffin being red and white, while that which decorated the roof and posts was red and black. In front of the projecting roof was hung the beautifully woven kaitaka mat of the deceased woman, and tufts of the white feathers of the albatross were arranged at regular intervals upon it.

Even when Mr. Angas saw this beautiful example of Maori art, it was beginning to decay, the climate being damp, and the natives never repairing a decaying tomb. It was, of course, strictly tapu. No native liked to go close to it, and for a slave, or even a free man of inferior rank, to go within a certain distance of it would have been a crime punishable with instant death.

I have much pleasure in presenting on the preceding page an [illustration] of this beautiful monument of Maori art, taken from a drawing made by Mr. Angas in 1844, while the perishable materials of which the tomb was made were yet in tolerable preservation. Under the carved and decorated roof may be seen the semicircular coffin in which the body had been placed, distinguished from the outer portion of the tomb by the red and white colors with which it was painted, in contrast to the red and black of the outer portions. The reader will notice that red is the prevalent color in all tombs, because red is the hue of mourning as well as of war among the Maories. Immediately under the eaves of the front may be seen the highly ornamented border of the kaitaka mat once worn by the deceased, and now left to decay upon her tomb.

Round the tomb itself runs a slight and low fence. This palisade, small as it might appear, afforded ample protection to the tomb, inasmuch as the whole space within it was rendered sacred by a tapu laid upon it by Raupahara, so that not even the highest chief would venture to enter the forbidden enclosure.

One of the finest specimens of carving in New Zealand—perhaps the finest in the whole country—is, or rather was, a mausoleum erected by Te Whero-Whero to his favorite daughter. It was upon the death of this daughter that Te Whero-Whero gave such dire offence to the other chiefs by threatening to throw their scalps into his daughter’s grave, for which offence he had to give up the celebrated armor of E’Hongi by way of fine.

The monument was erected in Raroera, formerly one of the largest and finest pahs in New Zealand, but rendered desolate by the act of the headstrong and determined chief. He had this wonderful tomb built for his daughter, and, as soon as her body was placed within it, he pronounced the whole pah to be tapu. It was at once deserted: old and young quitted the place, leaving everything behind them, the provisions to moulder and the weapons to decay. Solid houses that had occupied many years in building and carving were allowed to fall into mere shapeless heaps of ruins; and even in 1844 the rank vegetation had so completely overrun the place that many of the best pieces of native work were covered by the foliage.

The tomb is about twelve feet high, and consists of the usual box for the reception of the body, covered by a projecting roof, which is supported by pillars. Were it as graceful in form as the monument to E’ Toki, this would be by far the finest specimen of native art; but unfortunately it does not possess the bold outline and contrast of the curve and the straight line which are so characteristic of E’ Toki’s tomb.

The elaboration of the carving on this monument is so great that it almost baffles the skill of the draughtsman. Mr. Angas succeeded in copying it, and when the drawing was shown to the artist who had executed the work he was astounded, and pronounced the white man to be a great tohunga. The roof is supported by pillars, each pillar consisting of two human figures, the upper standing on the head of the lower. The upper figure is about seven feet in height, and has a gigantic head, with an enormous protruding tongue that reaches to the breast.