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KA HANA KAPA 


THE MAKING OF BARK-CLOTH 


IN HAWATI 
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tery 0 BY WILLIAM T. BRIGHAM, A.M., Sc.D. (Columbia). 
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MEMOIRS OF THE BERNICE PAUAHI BISHOP 
MUSEUM OF POLYNESIAN ETHNOLOGY AND 
NATURAL HISTORY 
He Ul, 
oe 
VOLUME, III us 1 ee 
HONOLULU, H. I. 
BisHop MusEuM PRESS 
1911 
fom Nay ; 


4 Jan 1 8 G68 } 
. seas, J 


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aN) EX 


The pagination of the illustrations is in italics. 


PAGE 
Abutilon incanum (mao)---+-+++++e++e sere eee 142, 143 
Acacia farnesiana (kolu) -----+-+-++++eeeee eee 169, 770 
African bark-cloth ....-..--+++eeeeee eee eee 67, 68, 69 
Alcock, R., kapa-making in Japan.-..-...---- 61 
Aleurites moluccana (kukui)..--- --+++++++- 138, 739 
Alphitonia excelsa (kauila)...-.-+-++++.+++++- 174, 175 
Alyxia oliveformis (maile) .------+--++++-++-: 165, 164 
Amaumau (Sadleria cyatheoides) -----.----- 161, 767 
Antiaris toxicaria, a kapa tree ..------+++++++- 127 
Anuu covered with white kapa -.--------+--- 197 
Anvil for beating kapa -----+- s+eeee seer eres 17,77 
for scraping the bark .-----.+++++++-+--- 76, 76 
Arnotto (Bixa orellana) -.+-+-+-+++++++eseese 158, 759 
Artocarpus (breadfruit), used for kapa-making 122 
male blossoms Of - yee. + cccccle nieces ccecee 722 
Aute, the Polynesian form of waoke --------- 120, 121 
in New Zealand ..--..--.00. s-e-+----- 16 
Percy Smith’s letter concerning --------- 17 
described by Forster. .----++++++2e+++ 00+: 23 
cultivated at Rapanui, Forster.-.-.-.---- 25 
Awapuhi (Zingiber zerumbet) ----------- +--+ 167, 166 
Balfour, H., gives specimens of bark-cloth 
from Nicobar Ids. and Madagascar...---- 67, 68 
Bambu, native or introduced (note)-----.---- 110 
TEU Ivye bhi anocsdopoDed Ooo BocoodoO 103, £02 
used for type----+-+-eesse cree ee eee renee 110, 7/7 
Bambusa vulgaris (ohe) «-+---++++++++ +2000 180, 787 
Banks, Sir Joseph, Journal quoted .---------- 6 
Bark scrapers of bone and shell.-.------+++++- 75) 75 
Beaters (iekuku), how carvyed---.----+++++++- 84 
Beaters (iekuku), list of Museum specimens - 88 
patterns on (Hawaiian )..-.+.+-+++++++++- 79 
stone from Mexico ---- +--+ eeeeee reece 201, 202 
telephoning, primitive: .--------+++++++++ 78 
various nomenclature------++++++++++e+ 84 
Bennett, F. D., describes Hawaiian kapa----- 49 
Bennett, Geo., describes Hawaiian dyes ------ 49 
Bischofia javanica, used as dye -------++++++++ 140, /4/ 
Bixa orellana (Arnotto) ----+-++++ee rere ereeee 158, 59 
Black kapa used for palls ----++++++++++eeees 197 
perishable owing to dye ------++++++++++- 197 
Beehmeria stipularis, a fibre plant .---------- 730, 131 
Breadfruit bark used for kapa -----+-+++++++- 122 
male blossom used for kapa ------+-+++++- 124 
Burton, R. F., African bark-cloth mentioned 68 


Byronia sandwicensis (kawaul) «+++ ++++++++++ 178, 179 


Ceesalpinia kauaiensis (uhihui) -------......- ree 
Calophyllum Inophyllum (kamani) -----.--- Dig 72 
Catalogue of kapa, Bishop Museum ....-....- 249 
Brigham collection......---.--+-++++++++- 240 
(Sole eal yainecaocemecsnacoseco dee ons 231 
Celtis fibre a source of bark-cloth -.........-. 137 
Chalmers, J., bark-cloth on Kiwai, New Guinea 57 
Charcoal (nanahu), source of --..-...-+++++-- 114 
Cloth, foreign, printed in native patterns -.-- 193 
Clothing, transition in Hawaiian ---..-.-.--- 196 
Codrington, Rey. R. H., Melanesian kapa 
Eh MlaSocmoacoo ToEOo DODO sooo DONS Sooo0n00G aC 56 
Comparative table of kapa terms-..-.--.----- 230 
Cook’s first notice of Hawaiian kapa --------- 41 
Journal «. 1. eee eee eee eee eee ee eee eee 6 
story still fascinating sielavolalevefelelatatstclefatateini ots 6 
Cord marker in kapa ornamentation -....-.-- 112 
Cordia subcordata (kou) ----..--- atte eens 150, 157 
sebestena, cultivated Honolulu -..-.----. 150 
Curcuma longa (olena, turmeric) ------+-++--- 142 
Cutters of shark teeth ....... cece ee ceeeee ene 85, 86 
Dayallia tenuifolia (palad) «---+-++++se serene 160, 760 
Designs used in Hawaiian feather-work....-. 205 
in Hawaiian matsS...---ececceecseceseceee 205 
Dianella nemorosa (uki) ----+++-+++eeeeee eee 152, 153 
Dixon, Capt. G., describes Hawaiian kapa --- 44 
Dyestuffs, use of on Hawali----+-+++++-+2++5+ 173 
Ea (tortoise-shell) used for stamps ---------- 112 
Ellis, Rev. W., describes Hawaiian kapa-mak- 
ing Syotatecacalecpictelsie/olwreialaletmininlwialuietajete'a tera) nin/nin iy) 45 
Tahitian kapa-making.--+-+++++++e seers 50 
Eugenia malaccensis (ohia ai) «++++++++++++++ 156, 757 
Fibre plants used for kapa-making ---------- 119 
Ficus bark, used in kapa-making ------. +--+ 124 
bengalensis --+-++-+e+eeseeeeee cere eereee 126 
TINCtOLIa 2-0 eee se cee n ce case ne neces cncees 124, 125 
Fijian dress 180 yds. long--+++-++++++++eeeeee 35 
kapa described by Seemann-----.-+++++++- 31 
still used in fire-walking «-----+-++++ss+-- 3 
Forster, R., kapa-making in Tahiti -.--.----- 19, 23 
Gardenia Brighamii .--++-+++++eeeeeeee reece 146 
REMY «+ 0s ee eee e cece eee cence eee ene tees 146, 147 
Gods dressed in kapa at Makahiki time «--.-- 198 
Groove Cleaners ..--eee eect ec eeceewnneeceeees 98 
Haa (Antidesma platyphyllum), used in mak- 
ing bathing malo---+-+-+.++eeeeeeeee eres 194 


ii Index. 


AG 

Hala ( Pandanus odoratissimus ), used for paint on 
leimiicd he oO Cony ToD Seopa Umc Sao Jan OG 104, 782 
Hau (Hibiscus tiliaceus) -----.-...-- 132, 734 
Hawaiian ornamentation ..-...-.-.-++++----+- 203 
Hibiscus tiliaceus (hau)..... +... 0. .2ee sees 132, 134 
Hohoa beaters (Pl. 1) --.--. 2-200 esee wees eevee 77 
Holoku, Hawaiian dress----- +--+ ++++++++ ees 791, 192 
Hoolei (Ochrosia sandwicensis) --.---++++++- 154, 755 
Hoopai, grooved beaters -----+-+-++++++ +0005 79 
Iekuku (kapa beaters)------ «+++ s+e+ sees eens 79 
list of those in Bishop Museum......---- 88 
Iliahi (sandalwood) ....... 22... sssseeeeeees 167 
Japanese paper made like kapa ....-.-.-.---- 61 
Kamamalu’s dress described.........-...+--- 189 
Kamani (Calophyllum Inophyllum)......-.- 171, 172 
Kapa as an article of property -----.- +++. .++- 199 
beaters, list of, in Bishop Museum....... 88 
braid used for slow-match ...-...--++++++ 198 
etymology nerciousrarstetaleruvatabatiom sai une sniietetald) seve atntely I 
Tibetan hte 0 OO SIRe OST MOOa aL I att so OD 30 196 
MOE, its Warmth: - csc. e wwe wees we nnse 196 
pendents on Jile bitsy On OA AeOdCO CI he Seite oc 195 
Printing -- 60... f eee eee eee ee eee eee IIo 
replaced by foreign cloth ---.-.--.++.+-++ 2 
RONCGLS TISEC ies wise elerisre eect re eunidielslete ele (eynyere 195 
strips compressor in childbirth ---.-..--- 199 
strips cordage -------+- +--+ +--+ sees ee eeee 198 
kites in Hawaii and New Zealand -....... 198 
lamp WICKS: .- 2.000 cece seecenscee neces 198 
terms, list of Hawaiian -.........sseeeee- 215 

list of Rapanui .-------+-+--+.+. seen 224 

THEOL Gan Gatiwecisiteitieicletetecclelece kere eie 221 

SST Ee Lt 11 Cl atieietatetala mieuelstatal cfete(etste tatatere 225 

list of Tongan SAFO RAR ODS Bo uam OO 223 

eae Smo Gosonon OCA cOOo Ome aoriCoode 183 
white covering for anuu .......--+-+.eeee 197 
white a mark of kapu ------- +--+ +++-+eeee 198 
white, sign of poi forsale .-......---..-- 198 
winding sheet for corpses..---.+--++++-- 196 
Kapa-making, its history .-.-....+-+.++++..-- 5 
in Tahiti, Missionary Voyage ---.-.-...-- 26 
Kauila (Alphitonia excelsa) ...-.-..++...--5- 174, 175 
Kawau (Byronia sandwicensis) «+--+. +++. +++ 178, 779 
Vater orgie nicy sd Meperer ary eer ey Piss Ses ace ks “15 194 
Kloss, C. B., cloth-making in Nicobar Ids..... 67 
Koeau, pattern on beater --..........2.0- eee 8o 
Kolea (Suttonia Lessertania) -.--+..e... 2200 148, 749 
Kopiko (Straussia kaduana). ...-..++-+-.---s 176, 177 
Kuna kuku or kapa anvil --.-...+...02 +000 eee 77) 77 
Kukui nuts a source of charcoal...-..-....-.. 144 
Lamp wicks of kapa strips .---.---+++-+.ss--- 198 
Laau kahi olona for scraping bark .........-. 76, 76 
Timers tor tube kalpa <)<'s:<t-/-0< w[e/='n'stai alate a/els = sles IOI 
Liti, a strong kind of masi, Kandaynu, Fiji----. 36 
Lupe (Hawaiian kite) made of kapa ......... 198 
Madagascar bark-cloth -.--..-----.++seee see 67 
Maile (Alyxia oliveeformis) perfume .---.----. 165, 764 
Malayan bark-cloth $<) <<. 1c cs 00 eceetens atinwle 63 


PAGE 

Wiel on Roeird neta ere oi otecrare Ohare rates +» archaeal aeetehenala 95, 96 
PASE Epi aie eri cc sons avis hfe scleieanam oem mates 98 
Malo, D., describes Hawaiian kapa.......-+++ 48 
Malo, waterproof for bathing -..--..--.+-++-- 194 
RO WWWOTTie le ceieitin sie sls oe ieleial ctv cieic cles. otetarcrets 186 
network of royal ..--------+.seeeeeeeeeee 184 

on old Fijian «----.- +--+. sees ee cece ee eeee 185 
Mamaki (Pipturus albidus)...--. +--+ -+++++++ 128, 129 
Mao (Abutilon incanum), a dye-----.---+++++- 142, 143 
Marks of carved beaters in kapa (nao) ------- 99 
Marquesas cloth described by R. Forster-.--- 29 
Masi-making in Fiji ----------+-+eeeeeeeeeeee 33 
used as turban in Fiji---- +--+ -++e--e sees 793, 195 
Melanesian kapa +--+ ++++++-ees eee cece eeeeee 55 
Micronesian kapa «+--+ -++++eeereee cere ee eees 55 
Milo (Thespesia populnea) .------++--+++0++- 135 
Mitchel, M., describes Samoan dyes---------- 39 
Mokihana (Pelea anisata), a perfume -.-.-.-- 762, 163 
Morgan, J. de, Perak Saki cloth-making.....-. 65 
Morinda citrifolia (noni), a dye -----++++++++++ 144, 145 
Mosquitoes introduced to Hawaii-----+--+- +++ 197 
Myrsine, SEPT STLLOMIA vie ioe eine ieee sl elcielefe steele 148 
Nanahu (charcoal) for ink .-.--.-.-++.+.+0.. 114 
Nau (Gardenia Brighamii), a dye -----.-+-++--. 148 
Neraudia melastomeefolia (oloa).--+-++++++-- 131 
New Guinea: bark=-Cloekn sc icice's sisicie cis cic ciste's sisiete STs 60 
New Hebrides bark-cloth ............ esse eee 62, 58 
New Zealand aute seen by Banks .-.--.-.-..--- 15 
aute, proverbs relating to it ..-------++-+- 16 
Nicobar Ids. bark-cloth.....-.....00222s0000. 67 
Noni (Morinda citrifolia), a dyestuff-...-..-- 144, 145 
Ochrosia sandwicensis (hoolei), a dye-------- 154, 155 
Ohekapala (bambu stamps) -+++++-++++++-++- 110, 7/0 
in S. M. Damon’s museum. ..----+- +--+ +++ Lh a BoP 
Ohia ai (Eugenia malaccensis)----.--+-++-++- 156, 157 
Oloa used for kapa-making ----+-+++++++++++ 131 
Olona described) sicscctcrs cowie nine a's 0 we one's o-clerelels 132 
Palad (Davillia tenuifolia).---.---.----+-+.-. 160, 760 
Pall of black kapa----- +--+. sees eeeee ee eees 197 
Pandanus (hala) fruit used for paint brushes. 104, 782 
Papa hole kua ula (malo board)..-.-.+--+++++ 95 
IGS Rl taear Goce agsiescs Boncaeooas de soe: 98 
Paper-mulberry a chief source of kapa .------ 117 
description and figure ---- +--+. -+eeeeees 120, 121 
Paritium, see Hibiscus....---...-2.ssssseeees 132 
Patterns on kapa beaters. ----+++0 sees eee eee 83 
cutting these --+....... eee ee eee ee teens 84 
tative TaMeS sas san Pea ame he ee hele eRe es 84 
Pa’u (woman’s dress) Mrs. Thurston.-.--..--- 186 
Of Nahtenaena:: 2. cccten vss orate stars sie 187 

for horseback riding ..---.+++++++e+se+5s 192 
Pelea anisata (mokihana), perfume -----.---- 163, 162 
Pepehi, pattern of beater ------++++e- sere eens 79 
Percy Smith writes concerning aute...--.---- 17 
Perfuming kapa often necessary ------.++++-- 118 
Phosphorescent glow of human flesh (note)-- 103 
Pipturus albidus (mamaki)..--.-++++. s+e++- 128, 729 
Printing siapo in Samoa ....----.+.+...0. 000+ 37 


Index. 


PAGE 
Printing types of wood rare.----.-+.-++.++---- 112 
(ONE ikorekeneace) ell = soceas oeenca sesdag dasqas II2 
Puili, pattern of beater -----.--------++---00- So 
Quilt (modern) shows Hawaiian design (note) 205 
Rapanui, paper-mulberry, cultivated......... 25 
list of kapa terms «-------+-++-+ eee ee eee 22 
Raw material in kapa-making ------.----.--- 117 
Rollin describes Hawaiian kapa --..----+++.- 44 
Rubus Macraei (akala) ----------++++++ sees 135, 36 
Rurutu cloth, Cook ..----.--+. sees ee cece eee 28 
Sealercallection ssecc= we cecete sare omen = 272 
Sadleria cyatheoides (amaumau) -------+----- I61, 767 
Sienlehe Ih Alekhine) pomecs aoe CO oboe po coco oimiors 188, 194 
printing of siapo ------ +--+ +++s esses eres 37 
UPete eee e reece ee rece ee eee ee eee ee eee 37-39 
Santa Cruz bark-cloth -..-.-.---+-eeeeeeeeeeee 62 
Santalum Freycinetianum (iliahi) ..----.---- 165, 167 
Seemann, B., Fijian cloth-making--..---.---- 32 
Sewing of kapa------.+-ee+s ee eeee eee ee eee ee 104 
not noticed by Cook on southern islands 
(MOE) eee cere eee eee eee ee eee tee eee 105 
Sibree, J., bark-cloth in Madagascar ---..---. 68 
Skeat and Blagden, Malayan bark-cloth..-... 63 
Solomon Ids. kapa ----+-+++e++seeeee eee eeee 241 
Stair, Rev. J. B., Samoan siapo -----.----.--- 38 
Stencil printing in Fiji --------+---..++++ +5: 36 
Stenoloma, see Davallia .-..+--+-+++++eee sees 160 


ili 
PAGE 
Stephan und Graebner Neu-Mecklenberg cloth 56 
Stone beaters in Mexico .-.......s.cccseunene 201, 202 
implements in kapa-making ............. 113 
Straussia kaduana (kopiko) .-----...-+-.+--- 176, 777 
Suttonia Lessertiana (kolea)................. 148, 149 
Tahitian kapa-making as told by Banks...... 8 
Telephoning among kapa beaters -..--.-..... 7 
Thespesia populnea (milo) --.-----.++-----.- 135 
Thread used in sewing kapa --------.+--.+--. 106 
Tinamu (mosquito net) of Samoa ............ 197 
Tongan kapa terms--------.+.-.-seeeee seen ee 223 
Tongatabu cloth-making .......--...-+.....- 2 
Tools used in Hawaiian kapa-making ----..-. 74 
Tortoise-shell stamps.--.--+-----++++-++++-- II2 
Touchardia latifolia (olond) ...-...-..-..++-- 132, 133 
Types for printing kapa -----..-----.---..... IIO 
Uhiuhi (Czesalpinia kauaiensis)-----.---.+--- 178 
Uki (Dianella nemorosa) -----++-+++++. eee 152, 153 
Ulu (breadfruit) used for kapa-making .-...-. 123 
Upas tree used for bark-cloth-making------.- 64, 127 
Van der Sande, bark-cloth in New Guinea.----. 59 
Waoke or wauke; orthography ----.----.---- 117 
Weule, K., African bark-cloth ............-... 69 
Williams, T., masi-making in Fiji ----------- 33 
Wilkes describes Samoan siapo --------++-++- 36 
Zingiber zerumbet (awapuhi)...---..---+- +++ 169, £66 


4 


poe oe ONC es as at 


SI AHR H 


lS Lk Ors PAs 


The colored plates designated by letters of the alphabet ave issued in carton. 


Hohoa or Preliminary Beaters. 
Hawaiian Iekuku or Regular Beaters. 
Hawaiian Iekuku. 

Hawaiian Iekuku. 

Marquesan Tapa Beaters. 

Beaters from Southeast Pacific. 
Tongan and Solomon Ids. Beaters. 
Bambu Type, Ohekapala. 
Impressions of Bambu Type. 

Masi from Fiji. Wilkes Expedition. 
Fijian Sula. Bishop Museum. 

Fijian Sula. Bishop Museum. 

Fijian Sula. Bishop Museum. 

End of a Fijian Sula. 

Cloth from Tayiuni. British Museum. 
Fijian Patterns in British Museum. 
Tahitian Tapa in British Museum. 
Tahitian Tapa in British Museum. 
Tahitian Tapa. 

Tahitian Tapa in British Museum. 
Tahitian Tapa. 

Mangaian Tapa in Bishop Museum. 
Samoan Siapo. U.S. National Museum. 
Kapa from Aitutake, Natural Size. 


25. Kapa from Aitutaki (Reduced). 

26. Rarotongan Kapa. 

27. Samoan Siapo. 

28. Marshall Ids. Kapa. U.S. National Museum. 
29. Rarotongan and Tongan Tapa. 

30. Solomon Ids. Tapa. Bishop Museum. 

31. Cloth from New Hebrides and Solomon Ids. 
32. Cloth from New Hebrides and New Guinea. 
33. Santa Cruz Cloth. 

34. Samoan and Fijian Specimens. 

35. Tahitian and Hawaiian Kapa. 

36. Hawaiian Kapa. Bishop Museum, 

37- Hawaiian Kapa, Brown on White. 

38. Hawaiian Kapa in British Museum. 

39. Line Patterns of the Time of Cook. 

40. Hawaiian Kapa in Bishop Museum. 

41. Hawaiian dotted Kapa. Time of Cook. 

42. Hawaiian Stamped Kapa in Bishop Museum. 
43. Hawaiian Punctured Kapa. 

44. Hawaiian Kapa. 
45. Hawaiian Kapa. 
46. Hawaiian Kapa. 
47. Hawaiian Kapa. 
48. Hawaiian Kapa from Kauai. 


Bishop Museum. 
Bishop Museum. 


Peale Collection. 


Lees RATIONS 


PAGE | 
A More Modern Tapa-Beating--....-.+.-..+-- Q | 
Tahitian Tapa Beaters tcrcrsnic ai ocisieve eve selevsreneieis (ave To. | 
Tiputa in British Museum...--.------+-++--+ II 
Tahitian Fern Stamped Red on Yellow.-.-.---- 13 
Maori Decorated Head. Cook .----.-.-.+-++.-- 16 
Maori Head. Parkinson..--..--------.+----- 16 
Tahitian Tapa. Cook’s Second Voyage «----- 20 
Title-page, Collection of Tapa. Cook..-...-. 22 
Frontispiece, Collection of Tapa. Cook...--- 22 
Fijian Ike and Bambu Roll ..-..---.-. s+. ++ tes || 
Fire Ceremony, Fiji. Lindt .---.-++++.+++--- a2 | 
Fijian Cloth from Moala -.-++-++++++++++++es- aq | 
Old Fijian Wearing Sula --.+--+-.-+-eeeeeeeee 35 
Samoan Upete, Stamp for Siapo.----.+++++++- 37 
Old Samoan Upete-.--. 1-01 cess eeeee eee ceee 38 
Samoan Wooden Upete -------+---+++++s secre 39 
Tapa from Tongatabu. Cook .-----++++++++++ 4o 


Under Side of Tapa, Fig. 17++-+++++++++++eee- 41 


UN Ee ee 


1g. Kapa from Kauai. Cook .--++-.++seeseeeeeee is 
20. A Melanesian Tapa ---++--++5 2-1-2 seeeee scene 56 
21. Pieces of Tapa from Western Pacific-.....-... 58 
22. Chief’s Cloak from Jabin, N.G. -............. 60 
23. Beaters from British, N. G. Edge-Partington 62 
24. Designs on New Hebrides Tapa ......-....... 63 
25. Sakai Girl with Clout of Tapa.............-.. 64 
26. Cloth from Upas Bark with Beaters .......... 65 
27. Group of Aborigines, Selangore -.-..-+...+.+-- 66 
28. Hawaiian Kapa in British Museum........--. 72 
29. Group of Hawaiian Kapa-Makers ----.-+---.-- 73 
30. Hawaiian Shell and Bone Scrapers -----..---. 75 
31. Laau Kahi Olona ..-... +++... eeeeee eeeeee eens 76 
32. Kua Kuku and Papa Hole Kua Ula......+.-... 77 
33. Forms of Pepehi-----++. +++ eee sere cere cence 79 
34. Forms of Ie Kuku, 1-6 «+++. seee ee eeeeeeeeee 8o 
35. Forms of Ie Kuku, 7-12 -++eeeeeeeeeeeee eens 81 
36. Forms of Ie Kuku, 13-19 -eeeeerseee errr eens 81 


Illustrations tn the Text. 


Forms of Ie Kuku, 20-25 
Forms of Ie Kuku, 26-32 
Forms of Ie Kuku, 33-39 
Cutter with Human Bone Handle --.-.------ 
Hawaiian Carving Tools «+--+. +++ese sees sees 
Cutter in British Museum ---- +--+ -+eee+-eee- 
Partly Carved Ie Kukui -- +++. es eees eee eens 
Papa 1S failen) oe hiOl Piscrtyce SoomAO ooo ODOM EAagO 
Papa Hole Kua Ula in Damon Collection -... 
Implements for Making Kapa.----.--.++++--- 
Pg Dh oul 2) eh lS BOO OER ORL Coe SRDEc rk Op aetoeo 
Plain Kapa by Transmitted Light ----.----.- 
Koeau Marks by Transmitted Light --------- 
Halua Pupu by Transmitted Light..-.-..-... 
Halua Upena by Transmitted Light -.-.--..-. 
Kapa Marked with Plain Lines. Cook Col- 
MECELOT te reterrialavelotelaciele (a lepeletove erefutaynialelalinicloteleyetatarctore 
Bare YU AMIEL Ss leva ale ie yacoterern) exetaretatens atetatatetalete avers 
Kapa Marked with Composite Lines----.---. 
Seam in a Kuina of Kapa Moe 
Under Side of Seam in Thick Kapa 
Upper Side of Seam in Fig. 56 ------+-+++-+-+- 
Under Side of a Tahitian Seam-----.-...---- 
Under Side of an Hawaiian Seam.-..-.-.--++ 
Upper Side of Seam in Fig. 59 ------+-+++--+- 
Under Side of Old Hawaiian Seam -.--..-.-. 
Upper Surface of Fig. 61 -----. +--+ ee-eseeeee 
Seam on Kapa in Cook Collection. Florence 
Upper Surface of Fig. 63---- +--+ +++ eee eee 
The Carved End of Bambu Stamps.-.-...---- 
Carved Stamps in Damon Collection-.....--. 
Impressions of Stamps in Fig. 66 -....-.----- 
Kapa Stamp in Copenhagen..-..-.+..--.--+-- 
Design Stamped on Kapa, Copenhagen ---..-. 
Stone Implements Used in Kapa Work...-... 
Coconut and Bag for Charcoal....-..-.--+.-- 
Kapa Cases in Bishop Museum ......----++-- 
A Bundle of Waoke Bark.......--...++++--+- 
Broussonetia papyrifera, Paper-Mulberry --- 
Young Tree of Paper-Mulberry .--.--------- 
Male Blossoms of Artocarpus-------+-++.--+- 
J Veticei yt leverg PLDC O OAR EbOnn Gore oO doc aco 
Ficus bengalensis or Banyan -----.--++++++ee 
Pipturus albidus (Mamaki)...-...+-.+..-.-. 
Boehmeria stipularis -..-....--.....-+++- eee 
Touchardia latifolia (Olond4)...........-.-.. 
Hibiscus tiliaceus (Hat)... --.es-es sece cove 
Rid bustiMacraen (A kale iieesisiarela sinters oretsiale 


PAGE 
Allevrites nO] WCCana sre .000 vw vce» vista se einai 137 
BisChofia JAVAnica- oie occ e ose aise cicine = minlelsiviciere 141 
Abutilon incanum «+++ +++. eee ee ee eee eee eee 143 
A Coraht lteter iolbt: AGOC SOO EABARIO CS aA oc 145 
Gardenia Remyi in Fruit .....-..--+++..-+- 147 
Srttoma jesse ruiatid ualeletelsaainte’a'-15sraisipineiclaie ele 149 ~ 
Cordia subcordata <i iscw.ecrsie so bicrcalevs eo ssints 151 
DyanellawemOrosas cscs cine orieratemalncie wees 153 
Ochrosia sand wicensisS ----<.2200s0ss%sceees 155 
Eugenia malaccensis....-...++.seceesecaees 157 
Bisa Ore lease ciec esl ts1s-ciercteheie im timeet ha eateries 159 
Dayallia ten whoa =talocuetelolelstecintelaiotetatiieta arate 160 
Sadleria cyatheoides ..---...+---..-+.------ 161 
IPelearanii Sate talsmeiiercinc teem siete = elation RoR 162 
Alyxia olivaeformis --.--..2..seeeeeeeeeeese 164 
Svhriellithrsrogaon tucthone boo Sac ae Ab aos Sac 168 
Zingiber Zerumbet---+..--++++sse seers eeee 166 
Acacia Harnestanian cress) s\simel aise s\s/a'5/a1oleaiaiters 170 
Calophyllum Inophyllum....-.+++-+..+++++ 172 
Alphitonia excelsa.-.. ++. +.....seeeee sense 175 
Stralissiawk ag nati cfcterc cic elevate eis) ie aforeieetaoe ater 177 
Byronia sandwicensis ------+++++. sees eeeee 179 
Bambusa vulgaris «<-0-2-.2cws ceccccssnnne 181 
Ripe Fruit of Pandanus----+--++.++++e.+e 182 
Network of a Royal Malo -.---.+-+++++.-++ 184 
Old Cannibal Fijian. ..-.. +++. .-... eee sees 185 
Samoan Girl with Lavalava ..--....-...+.- 188 
(NES EHIME Il Geo bee comodo ate nn Soca os - 190 
Hawaiians in Holoku, 1864..--....+-2++.00- IgI 
Holoku and Malo, 1908. Stokes -...-...++- 191 
Hawaiian Riding Pa’u, [864 -----++++-+++-+-- 192 
Tanoa, King of MBau. Wilkes ...-..-..--- 193 
Woman in Modern Dress. Stokes .---.---- 194 
Man sn Maillo. ‘StO KES: orteataternots ele evecare ice 194 
Hawaiians on Molokai. Stokes..---....... 195 
Heiau on Kauai Showing Anuu. Cook..--- 198 
Hawaiian Fire-Sticks --.. +--+ +++... e+e ee 199 
A Present of Kapa. Cook..---.++-++++++-+ 200 
Mexican Stone Beaters (obverse )------.++-- 202 
Mexican Stone, Beaters (reverse )------.-++ 202 
Geometric Designs in Matwork .-.---..+---- 206 
Bent Knee Pattern on Kapa..----+++-+++++--- 207 
Printed Kapa in British Museum.----.....-. 208 
Printed Kapa in Bishop Museum........--- 209 
Kalukalu Kapa Biche elere ietmrslonet ede: =\etmyaiehalislieleuatoas eis 209 
Kapa Fish-Hook Pattern...---++++++2e+ee0++ 209 
Full Sized Stamp of Fig. 129. ---+++++++ +++ 211 
Hawaiian Kapa in British Museum .-.---..---- 212 


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MEMOIRS BISHOP MusEUM, VOL. III. PLATE Z. 


HAWAIIAN KAPA. 


KA HANA KAPA. 


The Story of the Manufacture of Kapa ( Tapa), or Bark-cloth, in Polynesia and 
elsewhere, but especially on the Hawatian Islands. By Wi11AM 'T. BRIGHAM, Sc.D., 
Honorary Fellow of the Royal Anthropological Institute of Great Britain and Ireland, 
Director of the Bernice Pauaht Brshop Museum. 


S the chief matter of the following description is taken from the work of Hawaiians 
in their share of the tropical manufacture of cloth, or more properly paper, 
primarily intended for clothing but developed into many other uses, it will be 

illustrated largely from the colleftions of the Bishop Museum, which are rich in the 
choicest products of this industry as well as in the tools used, and the nomenclature 
will of necessity be largely Hawaiian. The Hawaiian orthography of the name Kapa 
(pronounced tapa) has been generally retained, although many of the Polynesian 
groups have called their bark-cloth by other names or other forms of this name. The 
etymology of the name is simply a = the, and fa = beaten or the beaten thing. 

While the Bishop Museum has a great number of kapa specimens derived from 
the beloved Alii in whose honor the Museum was founded, and to whom, as the last 
of the royal Kamehameha line, many had descended, the Director has added to these 
for the purpose of study specimens of nearly all that Cook’s three expeditions colleGed, 
those of Vancouver and other early voyagers as well, and the generosity of other 
and older museums has placed at his disposal their chiefest treasures. May the pages 
that follow be in some measure a return for the kindness! 

The illustrations of these have generally been photographed by the author, 
except those from the British Museum and the United States National Museum; while 
the colored plates have been made from the actual specimens by Lowy of Vienna, 
which should assure their fidelity to the originals. 

It will not be forgotten that kapa-making is fast passing into oblivion all 
through the regions where it once flourished, and at present exact knowledge of some 
of the processes, simple as they usually were, is already lost. ‘There is no living 
source whence we can make up our deficiencies, for even where the poor relics of the 
manufacture still exist, they are so affected by foreign additions, not to say corrup- 


tions, that they are of little help. Even the names of the tools are not always to be 


2 Ka Hana Kapa. 


obtained today from the few old natives who once practised the art. This is not told 
to excuse the author’s shortcomings, which are many and lamentable, but to explain, 
in some measure, the absence of matters that might seem easy to bring together. 

The tools with which this work was done were doubtless, in the beginning, 
simple and even rude. In the separation of the beautiful lace-bark of Jamaica from 
the stem a club of no greater artificiality than a convenient length of a round stick of 
hard wood was sufficient; and even to the present day in Africa, New Guinea and 
elsewhere, such an improvised club or beater answers well enough to the demands of 
a manufacture that has never risen above the primitive level. On the islands of the 
eastern Pacific, where the making of bark-cloth attained its highest development, 
the primitive tools were at some unknown time replaced by a more complicated 
apparatus (at least on the Hawaiian Islands), and this apparatus, which reached 
its zenith in the early part of the nineteenth century, we have in abundance in 
this Museum. 

We may premise that early in the second half of the last century foreign textiles 
had largely replaced on these islands the choicer kapa, which was much more difficult 
to make than the common sorts, and was the chosen work of the higher female chiefs 
(Az). Almost from the coming of the American Missionaries in 1820 these exalted 
dames had generally ceased to beat or rather decorate kapa for amusement, and betaken 
themselves to the more difficult task of learning to read and write with the new letters 
brought by these foreign teachers. The early chroniclers of the Mission tell most 
touching stories of the desire of the aged natives to master the mystery before they 
died. As is well known, the chiefs at first monopolized the new learning, and the 
commoners, the »akaaznana, still kept the echoes of the beating ringing in the remoter 
valleys; but the democratic invaders soon persuaded the chiefs to admit to the schools 
the whole people, over whom a wave of curiosity had flowed. We who learned our 
letters in childhood can hardly appreciate the feelings with which almost the entire 
Hawaiian people were imbued, nor the eagerness with which they threw themselves 
into the new studies and the consequent neglect of play and work alike,—except the 
necessary task of food gathering,—to conquer the new falapala. If the critics who 
unjustly blame the missionaries for discouraging the ancient athletic games only could 
have seen the devotion to study which exhausted not only the daylight but as well the 
desire to exertion beyond that of the school-room, they would have better understood 
the situation, and have spared the teachers the annoyance of unkind blame from their 
Christian brethren. Only the coarser kinds of kapa needed for the scant clothing 
then in vogue were made, and the enterprising merchants who came to these shores 
soon taught the superior durability of the foreign textiles. 


Introduction. 3 


When in 1864 the writer came to these islands kapa was worn only in the out- 
lying districts, and only the plainer forms were made: in Honolulu, when only the 
malo (waist-cloth) was worn, it was of cotton cloth and not of kapa. The noise,—a 
rather pleasant one,—of the beating was common enough on Hawaii, in the valleys 
of Kauai, on Molokai and in a few other places, although on Oahu foreign cloth was 
almost universally worn. A few kapa makers could be found on the windward side 
of the island, for there was, and still is, a superstition that the ancient cloth makes 
the most suitable pall or even shroud for the dead while no longer fashionable for the 
living, but the old beaters were largely used by the native washerwomen to beat the 
clothes of the foreigners to a more or less pulpy condition on the flat stones by the 
brookside, and it was in this debased use that I first saw an Hawaiian kapa beater. 
This excited my curiosity, and it was not long before I had gathered the names of 
the various patterns cut on them, and had also seen their legitimate use. These 
beaters seemed at the time over-abundant and they could often be bought for a 
hapaumz, the Hawaiian dime. 

In 1890, when the Bishop Museum was opened, the manufacture and use (with 
such exceptions as we shall find later) had ceased; kapa-making on Hawaii, where it 
had excelled, was taking its place with the lost arts, and this was true in many other 
Polynesian groups. Samoa still continues its rather coarse szafo making, but it is 
mainly for exportation as a curiosity. Everywhere the product of the loom (which 
the old Polynesians did not know) has driven out the product of the beater; only in 
museums can the relics now be studied, and as the products and tools of other groups 
have been added to the rich collections of Hawaiian origin in the Bishop Museum, it 
has seemed well to the Trustees of the Museum that such facts regarding kapa as 
may be gathered should now be put into permanent form. Recognizing the perishable 
nature of this delicate and beautiful fabric, they have made generous provision for 
fac stmile representations of many of the rarest specimens, that the colors and their 
arrangement may testify to those who come after us to what remarkable perfe@ion 
this art in the hands of the old Hawaiian Alii had attained. ‘They have called on me 
to put into the following pages what I have learned about these specimens, which 
alone would place the Hawaiians high among their Polynesian brethren. 

Imperfectly as I have done this work, I assure my readers that I have ap- 
proached it with the deepest interest. I have tracked the remains in many museums 
of the world, and I had previously gathered what I then thought enough from the 
aged women who had made kapa on these islands, and also I had talked with the 
kapa makers of Samoa and Fiji. But the search began too late to save all, and 
when it began anthropology was more interested in the empty skulls of a race 


4 Ka Hana Kapa. 


than in the devices the living brain had thought out to improve the arts of living. 
If the scientific knowledge and methods of today had existed fifty years ago! 
What I have done in this treatise is arranged as follows: 


1. The history of the art and its geographical distribution: a chapter which 
should be very full, for it extends its view through the tropical Pacific, through the 
Indian Ocean to Madagascar (a Polynesian connection), into Africa. I have reason 
to believe that in Central America the art was known, but at the advent of the 
Spanish Conquistadores the looms were everywhere at work and the earlier fabric 
forgotten as clothing, although still used as paper on which to inscribe those bril- 
liant hieroglyphic records, which were so generally destroyed by the invading priests. 
Japan is at present making fine paper (of which I have specimens) from the same 
material and in much the same way as the Polynesians made kapa. 

2. The tools and their uses. Our museums have preserved a fairly complete 
series of almost all, and the use is without much difficulty interpreted by past experi- 
ence with actual workers. This will be our largest and most important chapter. 

3. The materials used: and here our path is not wholly clear, for we know 
only in a general way some of the trees used in Africa and elsewhere. Even the 
original home of the chief tree used through China, Japan and all Polynesia, the 
Paper-Mulberry, has not been determined; wherever it was used it is found cultivated, 
or escaped from cultivation. The dyes and other coloring matter are often disguised 
in native names now unidentifiable; and the known materials do not always under 
present treatment yield the results seen on old kapa. We know the substances at 
their command in the ancient days, but not always the exact treatment. 

4. The uses of kapa as clothing and for the innumerable subsidiary uses. 

5. Hawaiian ornamentation as shown on kapa, in which each reader may 
decide the provenance and interpretation of the designs laid before him. 

6. A detailed catalogue of the Museum collection of kapa and of my private 
collection, that the reader may know that this treatise has not been compiled without 
due foundation. 


In all this I shall endeavor to put the object or design as fully as possible 
before the reader by photograph. I shall avoid theorizing as far as may be, bearing 
always in mind that the main object of this volume is to preserve the fast vanishing 
art of kapa-making so far as it may prove possible. 


CHART ER 
HISTORY AND GEOGRAPHY. 


WE can go back only in imagination to the time when naked man, having to 
some extent satisfied his hunger, made himself a shelter from the weather and a pro- 
tection from his- fellow man (in the days of the simple life), found to his annoyance 
that he was naked and had to devise something to remedy the supposed defect. We 
know that there are tribes that have not yet made that unpleasant discovery, but the 
missionary will sooner or later make them conscious of their needs, and his brother 
the trader will supply them with the loaded fabrics of the Christian countries, and 
they will not have to invent or use bark cloth for clothing. 

China, the mother of so many arts, made paper from the same material and in 
essentially the same way as the Polynesians were found making it many centuries 
after. How the paper-mulberry came into the islands of the Pacific, we do not 
know and probably never shall. Have we yet learned how Chinese porcelain came 
into Egyptian tombs of the early dynasties? Their paper was easier to bring and 
might have suggested to the Egyptian traders who visited the interior of Africa before 
the days of Solomon, the way to utilize the barks of similar nature found there in 
abundance. All this gives exercise to the imagination but adds nothing to our 
knowledge, and we must come centuries later to the log-books of the voyagers, 
and the journals of the travelers by land who were beginning to learn that the 
habitable world did not revolve around Jerusalem, or even around the proud City of 
the Seven Hills. 

It would be quite possible for one placed within reach of a great library to fill 
many quarto pages with references, more or less obscure, to garments made from tree- 
bark as well as leaves, that early voyagers found among the peoples they visited, but 
the value of such a gathering would be problematical and at best would seem an idle 
display of research such as would be more suitable for a candidate for an academic 
degree of Doctor of Philosophy. Unfortunately early voyagers did not trouble them- 
selves to describe carefully domestic manufactures; their knowledge was limited and 
seldom extended to a critical understanding of the peoples among whom they made 
their discoveries. Hence they often misunderstood the supposed answers to mis- 
understood questions, a frequent occurrence as late as the time of Cook, with whom I 
propose to begin my account of kapa-making. 

When we remember that the fig-leaf which appears in the charming Baby- 
lonian idyl given in the book of Genesis as the earliest dress of primitive man, still 


figures even in the Vatican and other galleries as the inappropriate garb of statues of 
(s) 


6 Ka Hana Kapa. 


the same sex as Adam, who in the “Breeches Bible” was reported to have used this 
impossible leaf to fashion the garment which has given name to this rare edition of 
the Scriptures, we need not wonder at the mistakes of travelers even centuries after 
the Babylonian captivity. Captain Cook, it will be remembered, believed that the 
Hawaiians were cannibals, from a misunderstanding of what was told him by islanders 
of whose tongue he knew little or nothing. Hence, in all the early glimpses we shall 
get of this essentially Polynesian art we find our view clouded by statements incor- 
rect if not impossible, and words or names no longer recognizable. 

In the light of our present knowledge of things Polynesian we cannot read 
again the fascinating pages of Cook’s observations without wonder at the general 
accuracy of his accounts of what he saw, and we must acknowledge the debt we owe 
to him and the scientific men who were with him on his three voyages. The 
Forsters, Banks, Sparrman, Solander and others, and we must not forget his Bernese 
artist (with him on his last voyage)’ whose pictures were far more accurate than was 
usual at that time. I shall quote here in full what these discoverers have to tell us, 
and we can later compare all this with the Hawaiian manufacture which was doubt- 
less the most complete technically and artistically. 

The first of Cook’s voyages was edited by the Reverend Dr. Hawkesworth, 
who had the great advantage of the journal of Mr. Banks, but the disadvantage of 
feeling obliged to correct and modify to suit his own clerical taste the rough but 
definite statements of the Commander (then Lieutenant) James Cook. He also saw 
fit (with the full permission of Mr. Banks) to shape his narrative as issuing from 
Cook. Fortunately the journals of both these distinguished men have in late years 
been published, the one verbatim,* the other edited by Sir Joseph D. Hooker.’ I shall 
take my extracts from these later published journals as of course more authentic. 
And first comes that of Cook, crisp and sailor-like, nor is all the odd spelling to be 
laid to the gallant Captain’s door, for his journal was written by a clerk in an age 
when orthography was even less grounded than at present. 


[ July, 1769, at Tahiti.] “I shall now describe their way of making Cloth, 
which, in my opinion, is the only Curious manufacture they have. All their Cloth 
is, I believe, made from the Bark of Trees; the finest is made from a plant which they 


‘Weber, whose drawings are preserved in the British Museum. 


?Captain Cook’s Journal during his first voyage round the World made in H. M. Bark ‘‘Endeavour,’’ 1768-71. 
Edited by Capt. W. J. L. Wharton, R.N., F.R.S. London, 1893. 

3Journal of the Right Hon. Sir Joseph Banks, Bart., K.B., P.R.S. Edited by Sir Joseph D. Hooker. London, 1896. 

One should read the introduction to each of these publications to understand fully what Hawkesworth did to 
the combined journals, but I may quote here an extract from Prior’s Life of Malone: —‘‘ Hawkesworth, the writer, 
was introduced by Garrick to Lord Sandwich, who, thinking to put a few hundred pounds into his pocket, appointed 
him to revise and publish Cook’s Voyages. He scarcely did anything tothe MSS., yet sold it to Cadell and Strahan, 
the printer and bookseller, for £6000,”’ 


Lieutenant Cook’s Account. 7 


Cultivate for no other purpose. Dr. Solander thinks it is the same plant the bark of 
which the Chinese make paper of. They let this plant grow till it is about 6 or 8 
feet high, the Stem is then about as thick as one’s Thum or thicker; after this they 
cut it down and lay it a Certain time in water. This makes the Bark strip off easy, 
the outside of which is scraped off with a rough Shell. After this is done it looks 
like long strips of ragged linnen; these they lay together, by means of a fine paist 
made of some sort of a root, to the Breadth of a yard more or less, and in length 6, 8 
or 10 Yards or more according to the use it is for. After it is thus put together it is 
beat out to its proper breadth and fineness, upon a long square piece of wood, with 
wooden beaters, the Cloth being kept wet all the time. The beaters are made of hard 
wood with four square sides, are about 3 or 4 inches broad and cut into grooves of 
different fineness; this makes the Cloth look at first sight as if it was wove with 
thread, but I believe the principal use of the Groves is to facilitate the beating it out, 
in the doing of which they often beat holes in it, or one place thinner than another; 
but this is easily repair’d by pasting on small bits, and this they do in such a manner, 
that the Cloth is not the least injured. The finest sort when bleached is very white 
and comes nearest to fine Cotton. Thick cloth, especially fine, is made by pasting 
two or more thickness’s of thin cloth, made for that Purpose, together. Coarse thick 
cloth and ordinary thin cloth is made of the Bark of Bread fruit Trees, and I think 
I have been told that it is sometimes made from the Bark of other trees. The mak- 
ing of Cloth is wholy the work of the women, in which all ranks are employ’d. 
Their common colours are red, brown and yellow, with which they dye some pieces 
just as their fancy leads them.” * 

This is all that Cook has to tell us, and though brief, the account is accurate. 
We turn to the journal of Sir Joseph Banks and we see where Dr. Hawkesworth got 
most of the story he puts into the mouth of the great navigator. Speaking of the 


Tahitians our journalist continues: * 


“They show their greatest ingenuity in marking and dyeing cloth; in the 
description of these operations, especially the latter, I shall be rather diffuse, as I am 
not without hopes that my countrymen may receive some advantage, either from the 
articles themselves, or at least by hints derived from them. ‘The material of which it 
is made is the internal bark or liber of three sorts of trees, the Chinese paper mul- 
berry (Morus papyrifera) [Broussonetia papyrifera|, the bread-fruit tree (Sz/odium 
utile) [ Artocarpus tncisa|, and a tree much resembling the wild fig-tree of the West 
Indies (Ficus prolixa). Of the first, which they name vowla [aule], they make the 


4Journal, p. 99. 5 Banks’ Journal, p. 145. 


8 Ka Hana Kapa. 


finest and whitest cloth, which is worn chiefly by the principal people; it is likewise 
the most suitable for dyeing, especially with red. Of the second, which they call 
ooroo {ulu|,is made a cloth inferior to the former in whiteness and softness, worn 
chiefly by people of inferior degree. Of the third, which is by far the rarest, is made 
a coarse, harsh cloth of the colour of the deepest brown paper; it is the only one they 
have that at all resists water, and is much valued; most of it is perfumed and used 
by the very great people as a morning dress. ‘These three trees are cultivated with 
much care, especially the former, which covers the largest part of their cultivated 
land. Young plants of one or two years’ growth only are used; their great merit is 
that they are thin, straight, tall, and without branches; to prevent the growth of 
these last they pluck off with great care all the lower leaves and their germs, as often 
as there is any appearance of a tendency to produce branches. 

“Their mode of manufacturing the bark is the same for all the sorts: one 
description of it will therefore be sufficient. The thin bark they make thus; when 
the trees have grown to a sufficient size they are drawn up, and the roots and tops cut 
off and stripped of their leaves; the best of the aou/a are in this state about three or 
four feet long and as thick as a man’s finger, but the vovoo are considerably larger. 
The bark of these rods is then slit up longitudinally, and in this manner drawn off 
the stick; when all are stripped, the bark is carried to some brook or running water, 
into which it is laid to soak with stones upon it, and in this situation it remains some 
days. When sufficiently soaked the women servants go down to the river, and strip- 
ping themselves, sit down in the water and scrape the pieces of bark, holding them 
against a flat smooth board, with the shell called by the English shell merchants 
Tiger’s tongue ( 7e//:na gargadia), dipping it continually in the water until all the 
outer green bark is rubbed and washed away, and nothing remains but the very fine 
fibres of the inner bark. This work is generally finished in the afternoon: in the 
evening the pieces are spread out upon plantain leaves, and in doing this I suppose 
there is some difficulty, as the mistress of the family generally presides over the 
operation. All that I could observe was that they laid them in two or three layers, 
and seemed very careful to make them everywhere of equal thickness, so that if any 
part of a piece of bark had been scraped too thin, another thin piece was laid over it, 
in order to render it of the same thickness as the rest. When laid out in this man- 
ner, a piece of cloth is eleven or twelve yards long, and not more than a foot broad, 
for as the longitudinal fibres are all laid lengthwise, they do not expect it to stretch in 
that direction, though they well know how considerably it will in the other. 

“In this state they suffer it to remain till morning, by which time a large 
proportion of the water with which it was thoroughly soaked has drained off or evapo- 


Sir Joseph Banks Tells of the Beating. 9 


rated, and the fibres begin to adhere together, so that the whole may be lifted from the 
ground without dropping in pieces. It is then taken away by the women servants, 
who beat it in the following manner: they lay it upon a long piece of wood, one side of 
which is very even and flat, this side being put under the cloth: as many women then 
as they can muster, or as can work at the board together begin to beat it. Each is 
furnished with a baton made of the hard wood, efoa (Casuarina equisettfolia): it is 


about a foot long and square with a handle; on each of the four faces of the square 


are many small furrows, whose width differs on each face, and which cover the whole 
face. They begin with the coarsest side, keeping time with their strokes in the 
same manner as smiths, and continue until the cloth, which extends rapidly under 
these strokes, shows by the too great thinness of the groves which are made in 
it that a finer side of the beater is requisite. In this manner they proceed to the 
finest side, with which they finish; unless the cloth is to be of that very fine sort 
hoboo, which is almost as thin as muslin. In making this last they double the piece 
several times, and beat it out again and afterwards bleach it in the sun and air, which 


in these climates produces whiteness in a very short time. But I believe that the 


IO Ka Hana Kapa. 


finest of their 4oboo does not attain either its whiteness or softness until it has been- 
worn some time, then washed and beaten over again with the very finest beaters. 

“Of this thin cloth they have almost as many different sorts as we have of linen, 
distinguishing it according to its fineness and the material of which itis made. Each 
piece is from nine to fifteen yards in length, and about two and a half broad. It serves 
them for clothes in the day and bedding at night. When, by use, it is sufficiently 
worn and becomes dirty, it is carried to the river and washed, chiefly by letting it soak 
in a gentle stream, fastened to the bottom by a stone, or, if it is very dirty, by wring- 
ing it and squeezing it gently. Several of the pieces of cloth so washed are then laid 
on each other, and being beaten with the coarsest side of the beater, adhere together, 


FIG. 2. TAHITIAN BEATERS IN THE BISHOP MUSEUM. 


and become a cloth as thick as coarse broad-cloth, than which nothing can be more 
soft or delicious to the touch. This softness, however, is not produced immediately 
after the beating; it is at first stiff as if newly starched, and some parts not adhering 
together as well as others it looks ragged, and also varies in thickness according to 
any faults in the cloth from which it was made. 

“To remedy this is the business of the mistress and the principal women of the 
family, who seem to amuse themselves with this, and with dyeing it, as our English 
women do with making caps, ruffles, etc. In this way they spend the greater part of 
their time. Each woman is furnished with a knife made of a piece of bamboo cane, 
to which they give an edge by splitting it diagonally with their nails. This is suff- 
cient to cut any sort of cloth or soft substance with great ease. A certain quantity of 
a paste made of the root of a plant which serves them also for food, and is called by 
them Pea | fza| ( Chaztea tacca) | Tacca pinnatifida|, is also required. With the knife 
they cut off any ragged edges or ends which may not have been sufficiently fixed down 


Flow the Tahitians Use Tapa. II 


by the beating, and with the paste they fasten down others which are less ragged, and 
also put patches on any part which may be thinner than the rest, generally finishing 
their work, if intended to be of the best kind, by pasting a complete covering of the 
finest thin cloth or foboo over the whole. They sometimes make a thick cloth also 


FIG. 3. A TAHITIAN TIPUTA (TEBUTA ) IN THE BRITISH MUSEUM. 


of only half-worn cloth, which, having been worn by cleanly people, is not soiled 
enough to require washing; the thick cloth made in either of these ways is used 
either for the garment called mavo, which is a long piece passed between the legs and 
around the waist, and which serves instead of breeches, or as the /edu/a, a garment 
used equally by both sexes instead of a coat or gown, which exactly resembles that 


worn by the inhabitants of Peru and Chili, and is called by the Spaniards poncho. 


12 Ka Hana Kapa. 


“The cloth itself, both thick and thin, resembles the finest cottons, in softness 
especially, in which property it even exceeds them; its delicacy (for it tears by the 
smallest accident) makes it impossible that it can ever be used in Europe, indeed it is 
properly adapted to a hot climate. I used it to sleep in very often in the islands, and 
always found it far cooler than any English cloth. 

“Having thus described their manner of making the cloth, I shall proceed to 
their method of dyeing. They use principally two colours, red and yellow. The first 
of these is most beautiful, I might venture to say a more delicate colour than any we 
have in Europe, approaching, however, most nearly to scarlet. The second is a good 
bright colour, but of no particular excellence. They also on some occasions dye the 
cloth brown and black, but so seldom that I had no opportunity during my stay of 
seeing the method, or of learning the materials they make use of. I shall therefore 
say no more of these colours than that they were so indifferent in their qualities that 
they did not much raise my curiosity to inquire concerning them. 

“To begin with the red, in favour of which I shall premise that I believe no 
voyager has passed through these seas but that he has said something in praise of this 
colour, the brightness and elegance of which is so great that it cannot avoid being 
taken notice of by the most superficial observer. This colour is made by the admixture 
of the juices of two vegetables neither of which in their separate state have the least 
tendency to the colour of red, nor, so far at least as I have been able to observe, are 
there any circumstances relating to them from whence any one would be led to conclude 
that the red colour was at all latentinthem. ‘The plants are F7zcws “2nctorza, called by 
them ma/fe (the same name as the colour), and Cordza Sebestena,’ called e/ou, of these, 
the fruits of the first, and the leaves of the second, are used in the following manner: 

“The fruit, which is about as large as a rounceval pea, or very small goose- 
berry, produces, by breaking off the stalk close to it, one drop of a milky liquor 
resembling the juice of a fig tree in Europe. Indeed, the tree itself is a kind of wild 
fig. This liquor the women collect, breaking off the foot-stalk, and shaking the drop 
which hangs to the little fig into a small quantity of cocoanut water. To sufficiently 
prepare a gill of cocoanut water will require three or four quarts of the little figs, 
though I never could observe that they had any rule in deciding the proportion, 
except by observing the cocoanut water, which should be of the colour of whey, when 
a sufficient quantity of the juice of the little figs was mixed with it. When this 
liquor is ready, the leaves of the efou are brought and well wetted in it; they are then 
laid upon a plantain leaf, and the women begin, at first gently, to turn and shake 
them about; afterwards, as they grow more and more flaccid by this operation, to 


® For illustrations of both of these see the chapter on Materials. 


Making the Red Dye. 13 


squeeze them a little, increasing the pressure gradually. All this is done merely to 
prevent the leaves from breaking. As they become more flaccid and spongy, they 
supply them with more of the juice, and in about five minutes the colour begins to 
appear on the veins of the e/ow leaves, and in ten, or a little more,-all is finished and 
ready for straining, when they press and squeeze the leaves as hard as they possibly 
can. For straining they have a large quantity of the fibres of a kind of Cyperus grass 
(Cyperus stupeus) called by them mooo, which the boys prepare very nimbly by draw- 
ing the stalks of it through their teeth, or between two little sticks until all the green 


FIG. 4. TAHITIAN FERN IN RED ON YELLOW. 


bark and the bran-like substance which lies between them is gone. Ina covering of 
these fibres, then, they envelop the leaves, and squeezing or wringing them strongly, 
express the dye, which turns out very little more in quantity than the liquor em- 
ployed; this operation they repeat several times, as often soaking the leaves in the 
dye and squeezing them dry again, until they have sufficiently extracted all their 
virtue. They throw away the remaining leaves, keeping however the ooo, which 
serves them instead of a brush to lay the colour on the cloth. ‘The receptacle used 
for the liquid dye is always a plantain leaf, whether from any property it may have 
suitable to the colour, or the great ease with which it is always obtained, and the 


facility of dividing it, and making of it many small cups, in which the dye may be 


14 Ka Hana Kapa. 


distributed to every one in the company, I do not know. In laying the dye upon the 
cloth, they take it up in the fibres of the 7000, and rubbing it gently over the cloth, 
spread the outside of it with a thin coat of dye. This applies to the thick cloth: of 
the thin they very seldon dye more than the edges; some indeed I have seen dyed 
through, as if it had been soaked in the dye, but it had not nearly so elegant a colour 
as that on which a thin coat only was laid on the outside.’ 

“Though the e/ou leaf is the most generally used, and I believe produces the 
finest colour, yet there are several more, which by being mixed with the juice of the 
little figs produce a red colour. Such are YZournefortia sericea (which they call 
tahetno), Convolvulus brasiltensts |Ipomea Pes-capre|, Solanum latifolium (ebooa). 
By the use of these different plants or of different proportions of the materials many 
varieties of the colour are observable among their cloths, some of which are very 
conspicuously superior to others...... 

‘The painter whom I have with me tells me that the nearest imitation of the 
colour that he could make would be by mixing together vermilion and carmine, but 
even thus he could not equal the delicacy, though his would be a body colour, and 
the Indian’s only a stain. In the way that the Indians use it, I cannot say much 
for its lasting; they commonly keep their cloth white up to the very time it is to be 
used, and then dye it, as if conscious that it would soon fade. I have, however, used 
cloth dyed with it myself for a fortnight or three weeks, in which time it has very 
little altered, and by that time the cloth itself was pretty well worn out. I have now 
also some in chests, which a month ago when I looked into them had very little 
changed their colour: the admixture of fixing drugs would, however, certainly not a 
little conduce to its keeping. 

“Their yellow, though a good colour, has certainly no particular excellence to 
recommend it in which it is superior to our known yellows. It is made of the bark 
of a root of a shrub called xono (Morinda umbellata). ‘This they scrape into water, 
and after it has soaked a sufficient time, strain the water and dip the cloth into it. 
The wood of the root is no doubt furnished in some degree with the same property 
as the bark, but not having any vessels in which they can boil it, it is useless to 


7I am surprised that our author does not mention the use of fern leaves as stamps with which to impress this 
red dye. I have in my collection some specimens brought home in the Axdeavour in which these two colors are 
pleasingly combined, the red leaf on a rich yellow ground, and should have given a sample among the colored plates 
had not the tints greatly faded from what Mr. Banksdescribes. In Fig. 4 is given a sample of the pattern. 

I have also the following description of the dye written for me by a Tahitian lady, Miss Teuira Henry. ‘‘The 
Ficus tinctoria (matt) sap is taken from the stem end of the fresh berry just as it is plucked, and sprinkled on to 
fresh young leaves of the fou (Cordia subcordata); they are then kneaded together in a little water, which when 
expressed from the mixture produces the red dye into which the fern is dipped for printing. The mati sap alone is 
yellow, and it is the tou that blends with it into a pleasing red color. The more mati there is, the brighter the 
red.’’ It will be seen that the coconut water is not considered indispensable. 


Aute in New Zealand. 15 


the inhabitants. The genus of Morinda seems worthy of being examined as to its 
properties for dyeing. Browne, in his A/zstory of Jamazca, mentions three species 
whose roots, he says, are used to dye a brown colour; and Rumphius says of his 
Bancudus angustifolia | Morinda angustifolia|, which is very nearly allied to our xoxo, 
that it is used by the inhabitants of the East Indian Islands as a fixing drug for the 
colour of red, with which he says it particularly agrees. 

“They also dye yellow with the fruit of a tree called samanu (Calophyllum 
Lnophyllum), but their method I never had the fortune to see. It seems, however, 
to be chiefly esteemed by them for the smell, more agreeable to an Indian than an 
European nose, which it gives to the cloth.” 


Because I am inclined to follow so interesting a narrator, I shall take my 
readers next to New Zealand, still quoting from Sir Joseph Banks :— 


“After this they showed us a great rarity, six plants of what they called aouéo 
[aute|, from whence they make cloth like that of Otahite. The plant proved exactly 
the same, as the name is the same, Morus papyrifera, Linn. (the Paper Mulberry). 
The same plant is used by the Chinese to make paper. Whether the climate does not 
well agree with it I do not know, but they seemed to value it very much; that it was 
very scarce among them I am inclined to believe, as we have not yet seen among them 
pieces large enough for any use, but only bits sticking into the holes of their ears.”* 

Now that we are at the extreme southwest end of Polynesia, we may add to 
this statement what little there is to be said about this aw/e so far from home. It is 
not merely a matter of manufacture, but a far wider interest that affects us just here 
—the whence of the Maori branch of the Polynesian race, and so slight are the records 
that we grasp each witness and wring from him any sezn/z//a of evidence. “The Maori 
came to New Zealand “from the northward” some time after another branch of the 
same family, the Moriori, of whom we unfortunately know little,’ had colonized on 
the group. Did they bring the cloth plant with them (as they did other useful 
things), and from what group? The climate of New Zealand was too cold and windy 
for such frail material as bark cloth for clothing; the strong native flax was soon 
found more suitable, but the name and memory clung to the people, and remain 
to the present day when the plant has gone from New Zealand, and the bark is 


8 Loc. cit., p. 206. 
9The Bishop Museum has a fairly good collection of Moriori stone and bone implements from Chatham Island, 


where the tribe finally perished, driven before their more warlike cousins. They were purchased for us by a former 
member of our staff, Mr. Acland Wansey, now of Dungog, N. S. W., and they show good workmanship. 


16 Ka Hana Kapa. 


forgotten even as an ornament. Here are some of the proverbs among the people, 
colleéted by W. Colenso” which have preserved the name :— 


“He manu aute e taea te whakahoro. 

A flying-kite made of paper mulberry bark can be made to fly fast. 

Te aute tee whawhea. 

The paper mulberry bark is not blown away by the winds [that is, all is quiet]. 
FHlacre mat ki Hauraki, te aute tee awhea. 


Come here to Hauraki where the aute is not disturbed [by winds |.” 


FIG. 5. A MAORI HEAD, COOK. FIG. 6. A MAORI HEAD, PARKINSON. 


The same author, well known for his researches in Maori lore, tells us still 
more of this perished immigrant to New Zealand :— 


“T will first mention the auée, paper-mulberry, although, as far as I know, not 
a single vestige of this plant is now left in New Zealand! its name remains, and that 
is all. Few Maoris now living have ever seen it; and yet, in ancient days, it was 
commonly and largely cultivated throughout the country. At the time of Cook’s 
visit it was very common, and seen by those early voyagers everywhere, both grow- 


ing in their plantations and worn in fillets by the chiefs in their hair; the thin 


© Transactions New Zealand Institute, xii, 144, 145. 


Aute in New Zealand. 17 


white bleached paper-like bark contrasting excellently well with their ebon locks. 
Very many of the heads of Maoris in the plates in both Cook’s voyages and Parkinson’s 
journal are drawn thus ornamented with the av/e.” [I have given in Fig. 5 a Maori 
head from Cook showing the fibres spread out as a white fringe in the ear, and in Fig. 6 
a head drawn by Parkinson showing the bark rolled up and stuck in the ear-hole, a 
more common device, judging by the illustrations given by both authors. When we 
return to the eastern Pacific region I shall ask a comparison with the ornamental 
head-wrap of white tapa there found.| ‘Yet though commonly cultivated, it.was of 
small size, and never was used by the Maoris for clothing purposes, as it was by many 
other of the Polynesians. The chiefs also made ornamental paper kites of it.” "! 


This account of the connection of tapa with the Maori history may well be 
extended by the information my friend S. Percy Smith, formerly Surveyor General of 
New Zealand, and always one of the best authorities on Maori history and antiquities, 
has written me: I may be pardoned for giving his letter in full:— 


‘Matai Moana’ : 
New Plymouth, N. Z. 
My DEAR Dr. BRIGHAM: Aug. 17, 1909. 

In reply to your letter of the 28th ult., I am indeed pleased to see that you are 
going to add to the many debts all Polynesian Scholars owe to you for what you have 
done in the way of Polynesian Ethnology, by publishing a work on the 7afa or, as 
you Hawaiians call it, Kapa. 

There is, scattered about in Maori traditions a good deal about the Awe, which 
is the native name of the Broussonetia in many of the islands. Maoris do not know 
now of the name /apa for the manufactured article, but it is always called au/e, which 
seems rather to imply that fafa is a name introduced after the Maoris left central 
Pacific. But of course this is not capable of proof. The Maoris were well acquainted 
with the azfe, indeed their traditions are quite positive that they brought the plant 
here with them, and this is proved by the further fact that the manufactured article 
was in use here when the early settlers (missionaries and beach comers) arrived here. 
But it was never in common use, probably because the plant itself did not flourish 
without a great deal of care, and was consequently rare and therefore only used 
by the Chief, usually in the form of a fine gauze-like material, quite white, which was 
worn bound round the head in a turban form with flowing ends. 

I only know of one expression that has been handed down that would seem to 


imply its use as a garment in days long ago. It is customary amongst Maoris to 


"Transactions New Zealand Institute, xiii, 18. 


Memoirs B. P. B. Museum, Vou, III,—2. 


18 Ka Hana Kapa. 


apply what one may call honorific names to Chiefs, or groups of Chiefs, and their 
descendants of some particular Chief. These were in fact the aristocrats of the tribe, 
and they usually lived at some certain place where was the meeting place of the tribe 
on all important occasions,— where was the particular marae or meeting place where 
stood the whare-kura, whare-maztre, or whare-wananga or Valhalla of the tribe. Now 
there was such a place in southern Kaipara, at O-taka-nini, which was the headquarters 
of the Ngati-whatua tribe, and the chiefs of that place were referred to as, 
“Te aute te whawhea”’ 


which may be translated as “girded with az/e,” 


on account, as the tradition says, of 
the chiefs being of so high a rank that they could afford to use aw/e garments. 

There are several references in their old songs to the aw/e, always implying 
that it was very precious and only to be used by chiefs,—hence a departed one is 
compared to the az/e as evidence of the value in which he (or she) was held. 

The very large kites of former days were also made of awe, no doubt because 
its closeness of texture held the wind better. Hence we find a chief or beloved one 
referred to as 

“Taku manu aute= My awe kite. 

The aufe was also used as a wrapper for articles of value, such as jadeite ornaments; 
and the same az/e was twisted into a thong, which was passed through the handle of 
a mere, and thus secured to the owner’s wrist. 

The plant itself was still to be found in New Zealand as late as the “thirties” 
of last century, and was seen by the somewhat celebrated botanist, W. Colenso. But 
even then it was extremely rare, and for 70 or 80 years it has not been seen at all. 
I have no knowledge as to how the bark was prepared, but, coming as the Maoris 
did from eastern Polynesia where the manufacture was in daily practice when they 
left, no doubt the operation would be the same as in their father-land. I never heard 
that they used patterns on their az/e, in fact, the impression left on my mind is that 
it was always pure white and of a filmy texture. 

Now that I know that you are engaged in this subject, I will, as I notice them, 
preserve some references that are to be found in Maori songs, but at this moment I 
do not know where to look for them the songs are so numerous. 

I hope some day to see your work, and I have no doubt that it will be on an 
equality with the other work of the Museum, and the more so because your Hawaiian 
tapas are the best in Polynesia that I have seen. 


With best wishes for your success, and kind regards, 
I remain 
faithfully yours, 
6. PERcy SMITH. 


Forster's Account of Cook's IT Voyage. 19 


It is curious to note that in Fiji and elsewhere the name of the plant was iden- 
tical with that of the manufactured articles, not uncommon among the Polynesians, 
as in Tahiti the fig and the dye that its berry produced both bore the same name, 
matt, malo or mast were names in Fiji of the paper mulberry and the cloth made 
from the mulberry bark. 

The books begotten by Cook’s voyages were many, although most of them 
were soon forgotten, or became the spoils of the bibliophile. It was most unfortunate 
that the attempts of the Admiralty to meddle with the publication of the results led to 
much scandal, publication of unauthorized accounts and often untrue accounts of the 
voyages. We have seen how the Journal of Sir Joseph Banks was made to furnish 
Cook with interesting matter that great Navigator had neither time nor perhaps 
knowledge to gather for himself, but as this was with the full consent of the natural- 
ist, and was well understood at the time, it matters little. On the second voyage in 
the Resolution and Adventure Dr. John Reinhold Forster and his son George were 
the naturalists and it is only necessary to read the introduction to the two portly quarto 
volumes in which the son narrates the genesis of this story of the voyage to see that 
there were shadows on the conduct of the voyage, and the arrangements for publish- 
ing the official Account most regrettable.” Because the elder Forster would not con- 
fine his account narrowly to scientific matters, nor allow his journal to be absorbed as 
that of Banks had been, the moiety of the £2000 or more which had been allotted to 
him for illustration of his story, was turned wholly to Cook’s account and the natural- 
ist left to publish at his own expense, which the son did without the illustrations. 
The previous year the senior had issued his account of the plants observed or col- 
leGed,*? and this, probably as beyond the governmental comprehension, was approved. 
The treatment of scientific men by the less educated persons in command of govern- 
ment expeditions has long been a matter of history, and even in our own country we 
have not forgotten the treatment of James Dwight Dana by the commander of the first 
American Exploring Expedition. This will perhaps account for much that we lose 
from the stores of knowledge these men doubtless colleted. I shall quote from this 
Voyage of Forster:— (He is at Tahiti in August, 1773.) 

“We had not walked far, when we heard a loud noise in the wood, which 
resembled the stroke of a carpenter’s hammer. We followed the sound, and at last 
came to a small shed, where five or six women were sitting on both sides of a long 
square piece of timber, and beat the fibrous bark of the mulberry-tree here, in order 


to manufacture it into cloth. ‘The instrument they used for this purpose was a square 


% A Voyage round the World in His Britannic Majesty’s Sloop, Resolution, commanded by Capt. James Cook, 
-during the Years 1772, 3, 4and 5. By George Forster, F.R.S. London, 1777. 
"Characteres Generum Plantarum quas in Insulis maris australis colleg, &c. Joannes Reinoldus Forster, 


L.l,.D., and Georgius Forster. qto. Jondon, 1776. 


20 Ka Hana Kapa. 


wooden club, with longitudinal and parallel furrows, which run smaller and closer 
together on the different sides. They ceased a little while to give us time to examine 
the bark, the mallet, and the timber on which they performed their operations. ‘They 
also shewed us a kind of glutinous water in a coco-nut shell, which was made use of 
from time to time, to make the pieces of bark cohere together. This glue, which, as 


BE SERS - ¥ RPS, Fy 


-FIG. 7. TAHITIAN CLOTH BROUGHT HOME ON COOK’S SECOND VOYAGE. 


we understood, was made of the Azdzscus esculentus, is indispensibly necessary in the 
manufacture of those immense pieces of cloth, sometimes two or three yards wide, 
and fifty yards long, which are composed of little bits of bark, taken from trees never 
so thick as the wrist. We carefully examined their plantations of mulberry-trees, but 
never found a single old one among them; as soon as they are of two years growth 
they are cut down, and new ones spring up from the root, for fortunately this tree is 
one of the most prolific in nature, and if suffered to grow till it flowered and could 
bear fruits, might perhaps totally over-run the country. ‘The bark must always be 
taken from young trees; and these are carefully drawn into long stems, without any 


What Forster Saw of Tapa-making. 21 


branches, except just at the top, so that the bark is as entire as possible. The method 
of preparing it before it comes under the mallet, we were not yet acquainted with at 
this time. The women employed in this manner were dressed in old and dirty rags 
of their cloth, and had very hard and callous hands.’’** 


Again on page 354 Forster describes, in the course of his rambles on the same 
island, and during the same month, what he saw of the dyeing or stamping process 
of the natives, and I am able to present my readers with a photograph of a bit of the 
cloth, stamped as described brought home from Tahiti on this voyage. Originally of 
a bright crimson the stamped circles have sadly faded, but the fragment, which I 
have in uy collection, seems to connect us more closely with the Forsters and their 
journey a hundred and thirty-seven years ago. We take up the story. 


“In one of these houses we observed a man at work, in preparing a red dye, for 
some cloth made of the bark of the paper-mulberry, which we commonly called the 
cloth tree. Upon enquiring for the materials which he made use of, we found to our 
great surprise that the yellow juice of a small species of fig, which they call mattee, 
and the greenish juice of a sort of fern, or bind-weed, or of several other plants, by 
being simply mixed together, formed a bright crimson, which the women rubbed 
with their hands if the whole piece was to be uniformly of the same colour, or in 
which they dipped a bamboo reed if it was to be marked or sprinkled in different pat- 
terns. [Fig. 7.| This colour fades very soon and becomes of a dirty red, besides 
being liable to be spoiled by rain and other accidents; the cloth, however, which is 
dyed or rather stained with it, is highly valued by the Taheitians, and only worn by 
their principal people. We bought several pieces of cloth of different kinds for beads 


and small nails, and then walked on.” 


Differing from the account of Banks it indicates, as has since been found to be the 
truth, that these natives as well as those of the Hawaiian Islands had a number of ways of 
attaining the same end. I have farther remarks from Reinhold Forster, and as I have 
not access to the original publication I am compelled to have recourse to a very curious 
book in my possession in which his words are quoted. This book is so curious that it 
deserves a word here. I give the title-page and frontispiece slightly reduced (Figs. 8, 9). 
Who the maker of the book was I do not know, but my copy has various curious notes and 
additions and apparently belonged to T. A. F. Leith. The volume closes with the very 


strange verse :— 
“But soon on deck the Captain stood, 


Cook, for ’twas he! the great and good. 
With his spy-glass he look’d to larboard, 
Then gave the order ‘‘Your helm to starboard!” 


™% Loc. cit., yol. I, p. 276. 


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Dr. Forster on the Art of Making Cloth. 23 


After giving extracts from Cook and Anderson, the author continues :— 


‘““Some extracts from Observations of Reinhold Forster, made during a voyage 
in the year 1772, round the world in his Majesty’s sloops the Resolution and Adven- 
ture; a book much neglected, upon account of Mr. Forster’s adhering to that justly 
exploded system of making every thing tally with the ancient dreams of dead and 
rotten Jews." 

“The art of making cloth is comprehended under many branches, the materials 
of which they are manufactured are different. In general the cloths are made from 
the bark of trees. The best sort of cloth is from the bark. Aouta, or Morus Papyri- 
fera; this plant is carefully cultivated in good and rich soil, which the natives take 
care to manure and prepare for the better growth of these plants, by mixing with all 
kinds of shells: the ground which they destine for the nursery of the Aouta is com- 
monly enclosed by deep trenches, in order to prevent men and animals from hurting 
the young trees. In this soil they plant the young shoots of the Aouta in regular 
rows, at the distance of about eighteen inches, or two feet; they lop off the leaves and 
branches that are sprouting out, which operation increases the main shoot, and invigor- 
ates its growth. As soon as the saplings have attained the size of an inch diameter, 
and height of six or eight feet, they are drawn up, the roots and tops are cut off, and 
such parts of the roots as have young shoots are carefully preserved and planted 
again, and the straight main shoot, the bark is slit up longitudinally, and put into a 
running stream, under a board loaded with stones. When the water has rendered the 
filamentous part of the bark more flexible, dissolved the gumonous substance which 
joins them, and softened the pulpy intermediate substance, then the women scrape the 
bark in or near the water, on a smooth board, set in an oblique direction; a thin 
bivalve the Tellina gargadia, is the instrument they make use of for this purpose, 
and frequently dip the bark in the water during the operation: the small narrow slips 
thus prepared, are carefully spread on plaintain leaves, to the breadth and length 
which the piece of cloth is intended to make, or which the quantity of bark will admit ; 
and in this condition they remain a whole night, and from the residuous gummosity of 
the bark, the fine filaments are so closely joined, that the whole makes, next day, but 
one piece. After the water is drained or evaporated, great judgment is observed in 
spreading the slips of bark; for as they are not of equal thickness, they are often 
obliged to mend those places where the bark was too thin: these large pieces are 
carried to the sheds somewhat remote from their habitations, where the women join in 
working; one or more sit at a long smooth square piece of timber, on which they beat 


the cloth with a square instrument of heavy wood, called Toa; each of the sides of 


1s Forster’s Remarks on the Human Species, p. 444. 


24 Ka Hana Kapa. 


this instrument is furrowed longitudinally by close grooves of different dimensions, 
and the side which has the coarsest grooves is applied first in beating gradually; the 
finer ones are used till the last operation, the cloth is reckoned fit for use; this beat- 
ing joins the fibres so close together that the whole being dry, is really of good con- 
sistence; though the least moisture seems to dissolve the whole texture. Some pieces 
of the best sort of bark are beaten more than the common, which makes the cloth fine 
and extremely soft, not much unlike our muslin. During the beating they constantly 
sprinkle the stuff with water which stands near them in cups of the coco-nut shells: 
after this operation the cloth is bleached and washed, to make it whiter and softer: 
sometimes they make of such soft and fine cloth, called in Taheiteo, Habos, several 
large layers which they join by a kind of glue, prepared from the root of the Tacca 
pinnatifida: these layers are again consolidated by beating again, rubbed, washed and 
softened, which operation makes it downy, smooth, and warm. 

“The bread-fruit tree yields likewise a material for cloth. The natives plant the 
young shoots, as the mulberry-tree, the bark is stripped off, soaked, scraped, laid out, 
and beaten in the same manner; and the cloth it affords is somewhat coarser, and 
called Tobeiro. A fig-tree, called Eaouwa, nearly related to the Ficus indica, and 
another kind, called by us Ficus aspera, is likewise employed for making a species of 
cloth from its bark, which is always brown or cinnamon colour; this cloth they call 
Ora; and the way of manufacturing it is not different from the method described 
before. As this cloth resists water more than the other two sorts, it is in request, and 
chiefly worn by the people of quality, after being previously perfumed; not only the 
difference of materials, but also the destination and colour causes various difference 
in the cloth. In general every kind of cloth is called Ahou; but a garment, chiefly 
of the sort called Naboo, intended for the women, is named Paroovai. If in the middle 
of a piece about six feet in length a longitudinal hole is cut, the natives call this dress 
Seepoote. It is a very common garment for both sexes, who put the head through the 
hole, and suffer it either to hang close upon both sides below the knees, or then inclose 
it by another piece of cloth coming up almost to the breast, and serving instead of a 
wrapper. Pieces of cloth are used by both sexes, as a sash, which covers their 
nudities. That which is worn by the men they call Maro; that by the women, Pareos. 
Red cloth is called Ewha-ais: the yellow kind named Haepae. There is a yellow 
cloth on which they make red figures, by dipping a bamboo reed in red dye, and 
stamping it upon the cloth: this is known by the name Apa, the sort which is not 
only brown but covered with a kind of varnish or gummosity they call Poowhirree; 
their dyes are very fine and bright, and would deserve more attention if they were 
lasting. The red dye requires a good deal of labour and care in preparing it. The 


Dr. Forster at Easter [sland. 25 


fruit of a small fig called Matte, Ficus tinctoria, affords a drop or two of milky juice 
when it is broken off from the tree. This juice is carefully gathered, in a clean cup 
of coconut shell, and after having sufficiency of it, they soak in it leaves of the E-tou 
or Cordia, which imbibe the milky juice, and soon tinge it of the finest crimson im- 
aginable: the whole is gently squeezed out and strained through filaments of coco- 
nuts, and used to dye cloth with. Instead of the E-tou, sometimes the leaves of the 
Tahenno, Tournefortia sericea, are employed, or those of the Pahoda, Convolvulus 
brasiliensis, or even those of the E-pooa or Solanum repandum: the sole juice of the 
Mattee affords a yellow colour: but the best yellow dye is made of the juice dripping 
from the peduncles of the Hibiscus punctatus Populneus, or Emeera: the watry infu- 
sion of the root of the E-nono or Morinda citrifolia dyes a fine yellow. Another kind 
is extracted from the Tamannoo or the Calophyllum inophyllum, one of the spurges 
called Epirree Pierree affords a bay brown colour, and the soaked bark of the Tootooe 
or Aleurites triloba yields a gum or resinous substance used by these people for 
varnishing their brown cloth.” 


I shall again quote from this little book in the list of kapa specimens. I can- 
not, of course, assure my readers that these extracts are absolute copies of the original 
which I have never seen, but I have no doubt that they are essentially correct. When 
Dr. Forster was at Rapanui (Easter Island), he found the cultivation of the paper- 
mulberry attended to, as the source of the scanty clothing the natives possessed; his 
reference to this, found on page 568 of the first volume of his Observations, is as 
follows :— 


“Being arrived at the shrubbery which we had in view, we found it was noth- 
ing but a small plantation of the paper mulberry, of which here, as well as at Tahei- 
tee, they make their cloth. Its stems were from two to four feet high, and planted in 
rows, among very high rocks, where the rains had washed a little soil together. Inthe 
neighborhood of these we saw some bushes of the Azbzscus populneus, Linn, which is 
common also in the Society Isles, where it is one of the numerous plants made use of to 
dye yellow; and likewise a #zmosa which is the only shrub that affords the natives 
sticks for their clubs and pattoo-pattoos, and wood sufficient to patch up a canoe.” 


Although Rapanui was by no means a fertile island, nor its then inhabitants a 
remarkably intelligent people, yet they had a fair quality of cloth. I havea specimen 
attributed to Rapanui brought back by the Expedition, but I am inclined to place it 
to the credit of the Pitcairn islanders, who of course learned the manufacture of tapa 
from the Tahitian women carried thither by the mutineers of the Bounty. 


26 Ka Hana Kapa. 


In the years 1796-98 a voyage was undertaken doubtless at the inspiration of 
the description of the interesting inhabitants of Tahiti in Cook’s voyages. It was 
undertaken in the ship Duff under command of Captain James Wilson, and is known 
as the ‘Missionary Voyage” an expedition with far different motives from any of its 
predecessors. From this I shall quote some additional information gathered by a 
committee of the London Missionary Society, under whose authority this exploring 
voyage was made. On page 389 of this very interesting voyage, in the list of trees 


and shrubs, we find :— 


“Yours, the morus papyrifera, the cloth-plant, or Chinese paper mulberry; 
there are two kinds in use, the one called MvERRE, the other Poorow. ‘This they 
carefully cultivate, fencing the plantations with a ditch, to prevent the hogs and goats 
from having access to them, especially the latter, which do much mischief by barking 
them, and are therefore tied up or driven into the mountains. The plants of this tree 
shoot up like osiers, and when about ten or twelve feet in height, and three inches in 
circumference, they are cut down and carefully stripped of their bark: of this their 
finest white cloth is made. The rind being taken off, is carried to the water, the outer 
cuticle scraped off carefully, and well washed, till the sap and slime are separated 
from it; they wrap this in plantain leaves, and leave it for three days to digest, by 
which time it becomes clammy and fit for working into cloth. The bark is next 
spread of a regular thickness on the beam where it is to be beaten, about eight inches 
wide, and they begin with the grooved beetle to spread it out to a proper breadth and 
equal thickness in every part. A number of plantain leaves are laid on the ground, 
and on these the cloth is spread to bleach in the early morning dew for several days, 
removing it as the sun grows high: when perfectly bleached, it is dried, and rolled up 
in bundles for use. This cloth is called hooboo and parrawye: if they wish it to be 
clouded, they break the outer bark with a stone, and wrap the sticks in leaves for three 
or four days before they bark them. 

“They mix also the inner bark of the tender branches of the bread-fruit tree 
with the cloth-plant, and prepare it in the same manner. If a chief, or man of 
property, has cloth to be made, he sends the mulberry-plauts in bundles to his tenants, 
and they mix them with the bread fruit branches, and bring home the cloth when 
prepared. If he needs a piece of very large dimensions, he tells them when he shall 
set about it: on this day the women of the district assemble with their beetles, each 
bringing a quantity of materials; and the ground being covered with plantain-leaves, 
they place their work in a line, and set to it all together, beating time to a song given 
out by one of their principal helpers; and when they strike up, make a vast noise, 


Tapa-making wn Tahite. 27 


two hundred sometimes being employed on one piece of cloth four fathoms wide, and 
forty fathoms long. 

‘Their cloth is made of a variety of colors, black, white, and several shades of 
crimson, yellow, gray, and brown. The black is dyed with the sap of the mountain- 
plantain, or under the roots of such cocoa-nut trees as grow in wet and swampy 
grounds, where they lay the cloth to soak for a day or two, then dry it, repeating the 
process until it becomes a deep black, when it is washed in salt water to fix the colour. 
This is called odwery. The brown is dyed or tanned with the bark of several trees, 
especially the toa, which gives a fine bright colour, heightened by the sun. . The bark 
is scraped with a shell, and after lying to infuse in water, and wrung out, the cloth 
is dipped in the infusion, and spread in the sun to dry, repeating the operation till it 
becomes a fine bright brown, called héere and powhéere. The yellow is extracted from 
turmeric or reya, which grows here in great abundance, the country being over-run 
with it, and capable of furnishing any quantity, as well as of péohey Ava or ginger. 
The gray is the natural colour of the cloth when unbleached; after being half worn 
it may be dyed brown, and lined with white, by pasting two cloths together; this is 
called hépaa. The red is produced from the mAattde berry. 

“When the brown cloth is worn out they bark the branches of the bread-fruit, 
and mix the old brown cloth with the new bark, beating them together, which makes 
a mottled piece: this they dip in a light yellow prepared from the root of a shrub 
called néno, which gives it a beautiful appearance; they line it also with white, and 
infusing perfumes in the yellow dye, call the cloth opotta potta: they have yet another 
kind of cloth called marra, made of the mulberry bark, half beaten: this consists of 
several layers of irregular thickness, for upper garments. At this the arreoies are 
peculiarly expert, though it is reckoned women’s work, and requires skill and nicety 
in the joining, to prevent the part pasted on from stiffening the cloth: this they paint 
with a beautiful crimson called mattde, extracted from a berry growing on a tree of 
the same name. ‘The expressed juice of the berry they mix with the leaves of another 
tree called tow, and imprint sprigs and leaves on the cloth by wetting them with this 
juice, and impressing them on the cloth according to their fancy. The berries of the 
mattde are brown when ripe, of the size of a sloe; and being gathered, they nip them 
between the thumb and finger, expressing a yellow drop or two, which they sprinkle 
on the leaf of the tow, by hitting one hand against the other: two or three drops 
suffice for a leaf. When the berries are all nipped, and the leaves wetted, they are 
worked with the hands in a wooden tray, sprinkling water on them till a beautiful 
crimson colour begins to appear, when they express the dye from the leaves, and 


28 va FHlana Kapa. 


throw them away. They lay on the colour with a small brush of stringy fibres, made 
of a rush called méoo, like a camel’s hair pencil. 

‘There are other trees from which cloth is made, but the process is the same 
in all. Sometimes they paste together pieces of different colours, cut into curious 
shapes, in which display of taste the erreoies excel. 

‘The women, with their feminine male associates, make the cloth; the men 
provide the materials. The beam on which the bark is spread, is about twelve feet 
long, made of a hard wood called marra, squared to six or eight inches, and finely 
smoothed on the upper side. The beetles are formed of toa, about fourteen inches 
long, and two and a half square. The sides are grooved of four different sizes, as the 
cloth is to be made of a finer or coarser thread; the handle is round; the beetle is 
called ayey; the beam, tdootddéoa.” 


Continuing the list of trees and shrubs our authors give some information 
about the qualities of each, but we will quote only those concerned with the cloth 
making. In speaking of the TAmANoo (Calophyllum [nophyllum), they refer to the 
nut as used to perfume the cloth but the chief fragrance is in the flower. TpooTpooa 
(tutui, Aleurztes sp.), they note that the bark of the root affords a light brown dye. 
Tow (Cordia sp.) gives the crimson with the juice of the MarrpE (/zcus sp.), which 
also has a bark fit for cloth-making. Nono (Morinda citrifolia), gives with an 
infusion of the inner root bark a fine light yellow dye. EAwwa, a tree I cannot iden- 
tify, unless it be a species of banian fig, yields when young from its inner bark a fine 
gray cloth called oraa, the most serviceable and valued of all their manufactures. 
I have not yet identified this among any of Cook’s tapa specimens. 

We have not yet done with the information to be obtained from Cook and his 
companions. At Ulietea Cook saw a large piece of cloth fifty yards long.*® At 
Oheteroa = Rurutu of the Austral group, he reports,—‘‘ The cloth was of the same 
material as that which is worn in the other islands, and most of that which was seen 
by our people, was dyed of a bright but deep yellow, and covered on the outside with 
a composition like varnish, which was either red, or of a dark lead colour; over this 
ground it was again painted in stripes of many different patterns with wonderful 
regularity, in the manner of our striped silks in England; the cloth that was painted 
red was striped with black, and that which was painted lead colour with white.” '? This 
island long famous for its tapa, seems to have completely abandoned the work. The 
cloth described as varnished red and striped black was made also at Samoa, and I have 
a fine sheet of it given me by Lieut. Moses, U. S. N. 


® Cook, 1769, II, p. 266. 7 Cook, 1769, II, p. 277. 


Tongan Tapa-beating. 29 


Cook does not speak with great praise of the Tongan tapa, but the specimens 
that he brought home (he visited this group both in his first and second voyages) 
rival the best of Hawaii. We will see what he says:—‘‘ They make the same kind 
of cloth, and of the same materials, as at Otaheite; though they have not sucha 
variety, nor do they make any so fine; but as they have a method of glazing it, it is 
more durable, and will resist rain for some time, which Otaheite cloth will not. Their 
colours are black, brown, purple, yellow and red; all made from vegetables.” 


I have in my collection two specimens of this glazed cloth, one plain, the other 
figured, brought from New Amsterdam (Cook uses Tasman’s name for Tongatabu) 
on his first voyage. Both remind one of the better kind of Samoan siapo. ‘The cloth 
certainly is not so fine as the Tahitian or Hawaiian, but the glaze waterproofs and 
strengthens it to a considerable degree. It is the figured cloth, which perhaps Cook 
had not seen, that I would compare with the Samoan product, and have illustrated 
below under Samoan work. A visitor in June, 1850, tells us,—‘“‘One of the things 
that strikes a visitor most upon his arrival at Tongatabu, is the incessant hammering 
which commences at daybreak and continues without interruption until about noon. 
To satisfy ourselves as to the cause of this, we entered the first house in which we 
heard the noise, and found two women engaged in making tappa or native cloth. 
They were seated on the ground, one on each side of a log about 6 feet long and 
6 inches square, which was raised just clear of the floor by means of short bits of stick 
placed under the ends of it. Hach woman had a piece of the bark, of which the tapa 
is made, laid before her on the log, and was beating it with a wooden mallet about a 
foot in length, the handle being rounded, and the striking end square, with grooves 
in the sides. They wetted the bark from time to time, sprinkling water upon it from 
a large wooden bowl that stood upon the ground beside them.” " 


The only new thing he tells us is that each woman was beating a separate 
piece of bark; if he was correct a most unusual proceeding. He evidently saw noth- 
ing of the more curious process of stamping the cloth; a process not attended with 
sufficient noise to attract a casual traveler. We shall, however, learn the probable 
process when we come to Fiji and the still extant manufacture on Samoa. I cannot 
find much of importance recorded by later travelers to this interesting group. 

On the Marquesas, Forster, the companion on Cook’s second voyage, already 
quoted, found, —“All the women wore pieces of cloth of the mulberry bark, of different 
sorts; but the variety of these cloths was very trifling, compared with what it is at 


Cook, 1773, p- 219. 90. W. Brierly, Journ. Roy. Geog. Soc., xxii, 102. 


30 Ka Hana Kapa. 


Taheitee; and it seemed the quantity was likewise inconsiderable, for, instead of being 
wrapped up in that number of pieces, so common among the luxurious chiefs of that 
island, they only wore a single aow or cloak, which covered them from the shoulders 
to the knees.’’*° 

Judging from the drawings of Marquesan tatuing that are before me, these 
splendidly formed natives preferred the decoration on their actual bodies, rather than 
on the more perishable cloths they sometimes covered their bodies with. Their 
patterns thus applied were striking, and constitute a distinct class among Polynesian 
designs. On tapa they would have been as popular as on carved bowls, cups or 
paddles, but among the few Marquesan cloths in my collection, while all are well 
made, none are figured. It should be remembered that from the tedious, if not very 
dificult process of imprinting tapa, the use of this finer kind was confined to the 
chiefs, and these seem to have only displayed their fine feathers to strangers of another 
race with whom they were well acquainted, as in the case of the Tahitians with whom 
Cook tarried long and was very intimate, and also the Hawaiians, who looked upon 
him as their long absent god Lono, and in their worship offered him their choicest 
possessions. The absence from Cook’s collections of the figured tapa does not prove 
that the groups or islands where he made short or unfriendly visits made nothing 
of the kind. 

With all Cook’s discoveries the wonderful Fijian or Vitian group was not 
explored: only a very small islet, Vatoa or Turtle Island, of the more than two 
hundred composing the group, was noticed.** No one of the early explorers of the 
Pacific has given us any details of the domestic manufactures of this fine race, com- 
posite in parentage as in language and manners. Strongly imbued with Tongan blood 
it was to Tongan influence that Thakombau, the Kamehameha of the southern group, 
gave up, with his strong taste for human flesh, his ancestral religion, and in place of 
Ndengei accepted the Trinity of the missionaries. 

It would be vastly interesting to compare the early work of the Fijian tapa- 
makers with that of the Tongan and Tahitian, so well illustrated in Cook’s colle¢tions 
still extant. The quality of bark-cloth made and used in recent years is so good that 
Tongan influence is suggested. But Fijian specimens are comparatively rare in collec- 
tions, and confined to the delicate white material used as turbans, and the carefully 


stamped waist cloths or /7ku. Pl. 10. 


*°G. Forster, A Voyage round the World, II, 30. 

**Captain Cook was by no means ignorant of the Fijian; he saw not a few at the Friendly Islands as he called 
the group now called Tongan. ‘‘It appeared to me,”’ he writes, ‘‘that the Feejee men whom we now saw were much 
respected here: they seem to excel the inhabitants of Tongataboo in ingenuity, if we might judge from several 
specimens of their skill in workmanship which we saw; such as clubs and spears, which were carved in a masterly 
manner, variegated mats, earthen pots, and some other articles; all of which had a cast of superiority in their 
execution.” 


Fujian Tapa-making. an 


While I have seen the native cloth still in use in a visit to Suva, and have 
good specimens in my colletion, I saw nothing of the manufacture, and will turn to a 
good authority on this matter, Dr. Berthold Seemann, whose observations while on a 
government mission fifty years ago (1860), are as follows:— “ Materials for the scanty 
clothing worn by the Fijians are readily supplied by a variety of plants, foremost 
amongst which stands the Malo or Paper Mulberry (Broussonctia papyrifera, Vent.), a 
middle-sized tree, with rough trilobed leaves, cultivated all over Fiji. On the coast, 
the native cloth (Tapa) and plaitings are gradually displaced by cheap cotton prints 
introduced by foreign traders,—a fathom of which is considered enough for the entire 
dress of a man. In the inland heathen districts the boys are allowed to run naked 


FIG. 10. A FIJIAN IKE AND BAMBU ROLL FOR LINING. 


until they have attained the age of puberty, and publicly assumed what may be 
termed their foga vzrz/2es—a narrow strip of native cloth (Malo) passing between the 
legs, and fastened either to a waistband of string or to a girdle formed by one of the 
ends of the cloth itself. The length of the Tapa hanging down in front denotes the 
rank of the wearer; the lower classes not having it longer than is absolutely necessary 
for the purposes of securing it to the waistband, whilst the chiefs let it dangle on the 
ground, and when incommoded by it in walking, playfully swing it over their 
shoulder. In the christianized districts of the coast, a piece of Tapa, at least two 
yards long and one yard broad, is worn around the loins, and distinguished persons 
envelope their body in pieces many yards long, and allow long trains to drag after 
them on the ground. A fine kind of Tapa (Sala) is worn in the shape of a turban by 
those who still adhere to the old custom of letting their hair grow long...... The 
manufacture of native cloth is entirely left to women of places not inhabited by great 


chiefs, probably because the noise caused by the beating out of the cloth is disliked 


32 Ka Hana Kapa. 


by courtly ears. The rhythm of Tapa-beating imparts therefore as thoroughly a 
country air to a place in Fiji as that of threshing corn does to our European villages. 
The Masi tree is propagated by cuttings, and grown about two or three feet apart in 
plantations resembling nurseries. For the purposes of making cloth it is not allowed 
to become higher than about twelve feet, and about one inch in diameter. The bark, 


taken off in as long strips as possible, is steeped in water, scraped with a conch shell, 


FIG. Il. THE FIRE CEREMONY: REMOVING THE EMBERS. LINDT. 


and then macerated. In this state it is placed on a log of wood, and beaten with a 
mallet (Ike), three sides of which have longitudinal grooves, and the fourth a plain 
surface. "Two strips of Tapa are always beaten into one with the view of strengthening 
the fibres—an operation increasing the width of the cloth at the expense of its length. 
It is easy to join pieces together, the sap of the fibres being slightly glutinous; and 
in order to make the junction as perfect and durable as possible, a paste is prepared 
of arrowroot, or a glue of the viscid berries of the Tou (Cordza Sprengeliz,** De Cand.). 


I have seen pieces of native cloth, intended for mosquito curtains and screens, 


2 See figure in chapter on Material. 


Seemann and Willams on Tapa-making. 33 


which were nearly one hundred feet long and thirty feet broad. Most of the cloth 
worn is pure white, being bleached in the sun as we bleach linen; but printed Tapa 
is also, though not so frequently seen, whilst that used for curtains is always 
coloured. ‘Their mode of printing is by means of raised forms of little strips of bam- 
boo, on which the colour is placed, and the top pressed; indeed, the fundamental 
principle is the same as that of our printing books, the little strips of bamboo stand- 
ing in the place of our types. The chief dye employed is the juice of the Lauci 
(Aleurites triloba, Forst.), and the pattern, although rudely executed, often displays 
much taste. Pls. 24-27. It is stated that in times when the Malo plantations have 
failed to produce a sufficient quantity of raw material, recourse is had to the Baka 
(Ficus sp.); but this is only a makeshift, whilst the bark of the Breadfruit-tree seems 
never to be resorted to as in other parts of Polynesia...... The yellow colour is im- 
parted with turmeric, the black with mud and the leaves of the Tavola ( 7ermznalia 
Catappa, Linn.), and the red with the bark of the Kura (Morinda citrijolia, Lind.), and 
that of the Tiri (Guttzferae ?).”*3 

The graceful effect of the wraps of white tapa about the loins of the finely 
formed Fijian is well shown in the picture taken by my friend Mr. J. W. Lindt of 
Melbourne, Fig. 11. ‘The scene is a part of the Fire-walking ceremony. I am almost 
inclined to take issue with Dr. Seemann when he calls the marking on the waist-cloths 
rude, but I will let my readers judge for themselves of the examples given in Fig. 12, 
or in Pls. ro-16. ‘The bambu roll shown with the beater in a previous figure is an 
ingenious labor saving implement, if not so delicate as the ruling pen of the Hawaiian 
described in a subsequent chapter. 

On consulting the authority from which Dr. Seemann seems to have obtained 
some of his information on the technique, I find he has omitted many of the interest- 
ing points which would not appeal to him asa botanist. The Rev. Thomas Williams, 
for thirteen years a missionary of the Wesleyan creed in Fiji, writes,— “The process 
of manufacturing the native cloth, or masz, has peculiar interest, inasmuch as in some 
where it was once made, the art 1s now lost; and 


parts— New Zealand, for instance 
among the Fijians, also, the manufacture must inevitably cease, as the demand for 
the masz declines before the more durable textures of the English looms. 

“The bark of the malo tree is taken off in strips as long as possible, and then 
steeped in water, to facilitate the separation of the epidermis, which is effected by a 
large volute shell. In this state the masz is kept for some time, although fit for 
immediate use. A log flattened on the top side is so fixed as to spring a little; and 


3Viti: An Account of a Government Mission to the Vitian or Fijian Islands in the years 1860-61. Cam- 
bridge, 1862. p. 348. 


Memorrs B, P. B. Museum, VOU. III.—3, 


Rah aaatilakaaei ti Wr 


Fi 


! 


i 


| 


| 


| 


| 


S Alesidencainn cents ; re 


il 


ini 


Wt 


! 


BRITISH MUSEUM, 


M MOALA. 


N CLOTH FRO 


FIJIA 


I2. 


FIG. 


Beating Mast. 35 


on this the strips of masz are beaten with an zé7 or mallet, about two inches square, 
and grooved longitudinally on three of its sides. ‘T'wo lengths of the wet masz are 
generally beaten together, in order to secure greater strength; the gluten which they 
contain being sufficient to keep their fibres united. A two inch strip can thus be 


FIG. 13, AN OLD FIJIAN WITH SULA. 


beaten out to the width of a foot and a half; but the length is at the same time 
reduced. The pieces are neatly lapped together with the starch of the taro, or 
arrowroot boiled whole, and thus reach a length of many yards. I measured a dress 
intended for a king on a festive day, and found its length to be one hundred and 
eighty yards. The “widths” are also joined by the same means laterally, so as to 


36 Ka Hana Kapa. 


form pieces of fifteen or thirty feet square; and upon these the ladies exhaust their 
ornamenting skill. The middle of the square is printed with a red brown, by the 
following process. Upon a convex board, several feet long, are arranged parallel, at 
about a finger-width apart, thin strips of bamboo, a quarter of an inch wide; by 
the side of these, curved pieces, formed of the mid-rib of cocoa-nut leaflets, are arranged. 
Upon the board thus prepared the cloth is laid, and rubbed over with a dye obtained 
from the dauci (Aleurites triloba). ‘The cloth, of course, takes the dye upon those 
parts which receive pressure, being supported by the slips beneath, and thus shows 
the same patterns in the colour employed. A stronger preparation of the same dye, 
laid on with a sort of brush, is used to divide the square into oblong compartments, 
with large round or radiated dots in the centre. The esa, or dye, when good, dries 
bright. Blank borders, two or three feet wide, are left on two sides of the square; 
and to elaborate the ornamentation of these, so as to excite applause, is the pride of 
every Fijian lady. There is now an entire change of apparatus. The operator works 
on a plain board; the red dye gives place to a jet black; her pattern is now formed 
by a strip of banana leaf placed on the upper surface of the cloth. Out of the leaf is 
cut the pattern—not more than an inch long—which she wishes to print upon the 
border, and holds by her first and middle finger, pressing it down with the thumb. 
Then taking a soft pad of cloth steeped in the dye in her right hand, she rubs it 
firmly over the stencil, and a fair, sharp figure is made. The practised fingers of the 
women move quickly, but it is, after all, a tedious process. When finished these large 
squares are used as mosquito curtains, a comfort which the Fijian enjoys, but of which 
his neighbors are ignorant [the Samoans had it]. In the work above described the 
Lakemba women excel. On the island of Matuku very pretty curtains are made; 
but the pattern is large, and covers the entire square, while the spaces between the 
black lines are filled in with red and yellow. 

“On Kandavu a strong kind of masz is made, called /z/2, which is the work of 
men, who leave the women to do the garden labour. The becoming turban worn 
by Fijian men is a finely prepared masz of only one thickness, and of a gauze-like 


appearance.’ *# 


Samoa is a group where the manufacture is still carried on, but merely for the 
supply of curiosity dealers, and it may be supposed the work is not improving. Still 
we have little of the old art recorded. Wilkes was at the group in 1839, and we may 
suppose the siapo was still well made. He describes the cultivation as conducted in 
the same way as at the other islands, but the beating has some peculiarities. He says: 
“The mallet used for this purpose is about two inches square, and about fourteen 


*4Fiji and the Fijians. London, 1858. i, 65. 


Wilkes Describes Samoan Stapo. 37 


inches long, with a handle at one end; two of its faces are grooved and the other two 
smooth; the bark is laid on a board, and struck with the mallet in a direction at right 
angles with its fibres; the grooved sides are used to spread out the fibres, and the 
smooth ones to knit them together. The grooves also give a thready appearance to 
the surface. 

“This method differs from that practised at Tahiti, where the bark is beaten 
with a smaller mallet, upon a spring board; and the tapa made here is of an inferior 
quality. The tapa is often printed with colours in patterns. his is performed in a 


ead Be 
ELAS lias a 
Se 
Z ¥ 


FIG. I4. TABLET SUCH AS MENTIONED BY WILKES. 


mode similar to that practised in Europe before the introduction of copper rollers. 
Instead of engraved blocks, they form tablets, about as thick as binder’s boards, of 
pieces of large cocoa-nut leaves, by sewing them together. One side of the tablet 
is kept smooth and even, and upon this cocoa-nut fibres are sewed so as to form 
the required pattern, which is of course raised upon the surface of the tablet. These 
tablets are wet with a piece of cloth well soaked in the dye, after which the tapa, 
which for this purpose is well bleached and beautifully white, is laid upon them 
and pressed into close contact. The dye is made from herbs and roots, and is of 


various colors.” *5 


25 Narrative of the United States Exploring Expedition. ii, 142. 


38 Ka Hana Kapa. 


It is most unfortunate the science of ethnology, at the time of the American 
Exploring Expedition, was so little developed that siapo-making, like so many 
things, was most superficially noted. How much, now lost, might have been saved 
if the Expedition had only one of the more modern trained observers! In the Narra- 
tive of the Expedition, to which we must turn for most of the quasi-ethnological 
information, the narrator is often grossly mistaken in his statements, and without 


corrections the authority is unreliable. 


FIG. 15. AN OLD TABLET IN WHICH THE LEAF BASE IS WELL STAINED. 


A carved wooden printing slab, far more durable than the rather flimsy leaf 
ones, was used here (Fig. 16), and also at Fiji. This method of printing, while 
cheapening the cost, certainly makes the work more slovenly and common, whole 
bales being printed in one pattern. Like the Tongan cloth, the Samoan, when printed 
this way, generally shows through on the reverse side. 

It must not be supposed that the Samoans did not make any fine siapo. While 
the texture of the fabric was neither so fine or so well beaten as that made in Tahiti, 
Tonga, the southern islands and Hawaii, they made sheets of a striking color, well 
glazed, and another sort ruled in imitation of mat-work (Pl. 34), and the soft brown 
patterns shown in Pls. 24, 25 are not unpleasing. 

Rey. John B. Stair, long a missionary in Samoa, gives us a little more informa- 
tion on the siapo of that group:—“ Before the contact with Europeans, and indeed for 


Rev. J. B. Statr on Stapo. 39 


sometime after, the use of szapo as an article of dress was confined to a few unmarried 
females of the highest rank, O 7ausa/a, titled ladies; all others being prohibited from 
wearing it upon pain of heavy chastisement. The privileged few only wore it in the 
house. For a long time past the rule has been broken through, and siapo is now 
worn by all persons of either sex.” *° 


In regard to the colors used he tells us: —“A beautiful crimson was obtained 
by mixing the inner bark of the roots of the zonu fi’afi’a, Malay apple (Eugenta ma- 
laccensis), with sea-water and lime. Yellow was prepared from turmeric and oil. It was 
also obtained from the bark of the zoxw previously mentioned. A fine purple was 
procured from the young shoots of the mountain plantain, soa’a; and a brown by mix- 


FIG. 16. A CARVED WOODEN SLAB FOR PRINTING SIAPO. 


ing the inner bark of the fanz with sea-water. A black colour was imparted to various 
articles by burying them in the soft mud of a taro patch.” Loc. cz., p. 145. 


Mr. Mason Mitchel, the American Consul at Apia (German Samoa), was 
so obliging as to write me about the dyes now used by the Samoans. The brown 
(Pls. 24-27) is obtained from the o’aa (Bzschofia javanica), a tree of some size. The 
red dye is now made from the seeds of the arnotto (#zxa orellana) in the usual way, 
and the black is from the burned candle-nut. 

Samoan siapo is largely imported into the Hawaiian Islands and sold to tour- 
ists, often as Hawaiian. It is often decorated by having the edges cut into triangular 
dentils or into fringe, as shown in Pls. 23, 28. In former times in Samoa several 
guilds were engaged in the siapo-making, as the Fajine faz stapo = siapo-maker ; 
Fai lenga = preparer of turmeric; 7w/w /ama= maker of lampblack, etc. 


26Old Samoa, by Rey. John B. Stair. Oxford, 1597. p. 115. 


40 Ka Hana Kapa. 


There is a traveler from whom I am glad to quote, as he was in the Pacific at 
the very time that I was watching the last embers of the Hawaiian kapa manufacture, 
the late Julius L. Brenchley, a man who spent more than thirty years of his life in wan- 
dering among peoples who were supposed to be living the “simple life” and his observa- 
tions have been published in part, but not to the extent that would have been desirable. 
As a guest on a British man-of-war he had cruised about the western Pacific and to 
the islands forming the southeastern portion of Polynesia, and in this latter region he 
notices the bark-cloth making. “The Tutuilans are less intelligent, industrious, and 
skilful in whatever they undertake than the people of Nitie, whose tapa cloths are 
certainly better finished.” *’ 


FIG. 17. A FRAGMENT OF TAPA BROUGHT BY COOK FROM TONGATABU. 


While the Curagoa was at Vavau of the Tongan group, among the makers of 
good cloth, he notes (/. c, p. 92.):—‘‘The people of Neifu and the neighborhood 
appeared to me very orderly and industrious. On all sides was to be heard the sound 
of the mallets used in making tapa, which, far from being disagreeable to me, had 
something as it were musical in its hollow tone. I obtained some particulars respect- 
ing the mode of preparing this fabric; the bark employed is never more than two 
inches wide; small, narrow strips are first manufactured and then glued together by 
means of arrow root, so as to form pieces of any length or width desired.” 

It is a little curious that while the advent of foreigners with their woven fabrics 
has driven the beautiful native work out of existence everywhere in eastern-Polynesia 
except on Samoa, there the foreign desire for curious things has kept alive a rather 


*7Brenchley, Cruise of H. M. S. Curagoa among the South Sea Islands in 1865. London, 1873. p. 57. 


Cook Rediscovers Hawatt. 41 


debased sort of siapo-making. Before leaving this Tongan region, I would note the 
softness often seen in the printed cloths, due partly to the permeability of the fabric, 


and partly to the method of applying the dye which is pressed upon the cloth on the 
side opposite to the stamp which is in low relief. In this printing the dye is commonly 
pressed through on all the points of pressure, causing a more or less perfect vep/ica, 
but reversed of the pattern. This is shown in Fig. 17. The slight spreading of the dye 
removes all the sharpness of the impression. In the specimen from which the illus- 
trations were made one hundred and forty years have made little impression upon the 
color. ‘The instruments and the dye are described on page 37 and the following, and 


FIG. 18. THE UNDER SIDE OF TONGAN TAPA SHOWN IN FIG. 17. 


are essentially the same all through the Samoan, Fijian and Tongan region: In the 
Hawaiian group they were unknown. We now turn to the early accounts of the 
product of this northern group. 

On Sunday morning, January 18, 1778, Captain Cook, on his third voyage, dis- 
covered this group, which the Spaniards had visited two hundred and twenty-three 
years before. We pass over his descriptions of the people until he comes to the matter 
we are at present interested in :— 


“They had no ornaments about their persons, nor did we observe that their ears 
were perforated; but some were punctured on the hands, or near the groin, though in 
a small degree; and the bits of cloth which they wore, were curiously stained with 
red, black and white colours.” 


2®Cook’s Third Voyage. London, 1784. ii, 192. 


42 Ka Hana Kapa. 


“In every thing manufactured by these people, there appears to be an uncom- 
mon degree of neatness and ingenuity. Their cloth, which is the principal manu- 
facture, is made from the morus papyrifera; and doubtless, in the same manner as at 
Otaheite and Tongataboo; for we bought some of the grooved sticks, with which it is 
beaten. Its texture, however, though thicker, is rather inferior to that of the cloth of 
either of the other places; but, in colouring or staining it, the people of Atooi | Kauai| 


i 2 


as MATa 
ee, ee 
«A EES: 


met 
3 


as 


a - + - 


FIG. 19. KAPA BROUGHT BY COOK, FROM KAUAI. 


display a superiority of taste, by the endless variation of figures which they execute. 
One would suppose, on seeing a number of their pieces, that they had borrowed their 
patterns from some mercer’s shop, in which the most elegant productions of China 
and Europe are collected; besides some original patterns of their own. ‘Their colours. 
indeed, except the red, are not very bright; but the regularity of the figures and 
stripes is truly surprising; for, as far as we knew, they have nothing like stamps or 
prints to make the impressions.*” In what manner they produce their colours, we had 
not opportunities of learning; but besides the party-coloured sorts, they have some 
pieces of plain white cloth, and others of a single colour, particularly dark brown 


*9We shall see in a later part of this work that they had stamps cut in bambu, as well as ruling pens. 


Captain King Describes Hawatian Kapa-making. 43 


and light blue. In general the pieces which they brought to us, were about two feet 
broad, and four or five yards long, being the form and quantity that they use for their 
common dress or waro,*° and even these we sometimes found were composed of pieces 
sewed together; an art which we did not find to the Southward, but is strongly, though 
not very neatly, performed here. ‘There is also a particular sort that is thin, much 
resembling oil-cloth; and which is actually either oiled, or soaked in some kind of 
varnish and seems to resist the action of water pretty well.” (Z.c., p. 237.) 


It is not strange that Cook was surprised at the accuracy of the drawing, and 
besides examples in Plates S, T, U and W, I am able to give in Fig. 19 a fragment 
collected on this voyage that is of a kind Cook may have had in mind. Death here 
interrupts the observations of the great Captain, and we must turn to the third volume 
of the account of this voyage, where Captain King continues the narrative, and we 
find he repeats much, but his story is worth quoting in full, so far as it relates to our 
study. It was in March, 1779, on the second visit to the group :— 


“Their cloth is made of the same materials, and in the same manner, as at the 
Friendly and Society Islands. That which is designed to be painted, is of a thick 
and strong texture, several folds being beat and incorporated together; after which it 
is cut in breadths, about two or three feet wide, and is painted in a variety of patterns, 
with a comprehensiveness and regularity of design that bespeaks infinite taste and 
fancy. ‘The exactness with which the most intricate patterns are continued, is the 
more surprising, when we consider, that they have no stamps, and that the whole is 
done by the eye, with pieces of bamboo cane dipped in paint, the hand being supported 
by another piece of the cane, in the manner practised by our painters. Their colours 
are extracted from the same berries and other vegetable substances, as at Otaheite, 
which have been already described by former voyagers. 

“The business of painting belongs entirely to the women, and is called £7f- 
paree |kiipalapala|; and it is remarkable, that they always gave the same name to 
our writing. The young women would often take the pen out of our hands, and shew 
us, that they knew the use of it as well as we did; at the same time telling us, that 
our pens were not so good as theirs. ‘They looked upon a sheet of written paper as a 
piece of cloth striped after the fashion of our country, and it was not without the 
utmost difficulty, that we could make them understand, that our figures had a mean- 
ing in them which theirs had not.” * 


It would hardly be worth while to quote from La Pérouse, he made so short a 
visit to the island of Maui, were it not that he thought the kapa inferior to all the 


» This size was too large for the malo and more suitable for the pa’u of the women. 
3*Cook’s Third Voyage. London, 1784. III, 148. 


44 Ka Hana Kapa. 


others. He records:—‘“‘ Les étoffes, qwils ont en trés-grand quantité, sont faites avec 
le mfirier A papier comme celles des autres insulaires; mais quoiqu’elles soient peintes 


avec beaucoup plus variété, leur fabrication m’a paru inférieure a toutes les autres.” * 


We cannot doubt that if the unfortunate French commander could have seen 
more of the Hawaiian kapa he would have recorded a very different opinion. His 
surgeon, M. Rollin, in his Dissertation on the inhabitants of Easter Island and the 
Island of Mowee, as published in the English translation of La Pérouse, London, 
1779, II, 332, says:—‘“ The stuffs, manufactured by these islanders from the bark of 
the paper-mulberry, are extremely beautiful, and of various kinds. They paint them 
with considerable taste, and the designs are so regular, that one might almost believe 
they had copied some of our chintz.” In May of the same year came to the islands 
Captains Portlock and Dixon, and they were better pleased with the cloth they found. 
“Cloth is another article which gives these Indians equal scope for fancy and inven- 
tion. It is made from the Chinese paper mulberry-tree, and when wet, (being of a 
soft, malleable substance) is beat out with small square pieces of wood to from twelve 
to eighteen inches wide and afterwards stamped with various colours and a diversity 
of patterns, the neatness and elegance of which would not disgrace the window of a 
London linen-draper. 

“How the cloth is stamped I never could learn; the different colours are 
extracted from vegetables found in the woods. There is another kind of cloth much 
finer than the above and beat out to a greater extent: it is of a white colour, and 


frequently wore by the Aree women in addition to the ahou.”* 


In the early days of the American Mission to the Hawaiian Islands there came 
from the Society Islands a man on his way home to England, seeking health for him- 
self and wife, and fortunately for us as for the Mission the Reverend William Ellis 
was persuaded to stay with the new teachers, to whose labors he gave great help, as 
he was already familiar with the cognate Tahitian language, and soon not only 
preached in Hawaiian, but wrote hymns, while the American missionaries were 
acquiring the Hawaiian tongue. He was an excellent missionary and pastor, and in 
addition a very observant man who did more than any else to preserve the manners 
and ways of the Hawaiians before foreign influence had utterly transformed them. 
In his Tour of Hawaii, and his Polynesian Researches he pictures the people of 
Kamehameha most faithfully and distinctly, and to him I now turn for a description 
of the kapa-making as he saw it in the early twenties of the last century. 


* Voyage de La Pérouse autour du*monde. Paris, 1798. II, p. 144. He was there in May, 1786. 
3A Voyage round the World. Capt. Geo. Dixon. London, 1789. _p. 272. 


Rev. Wm. Ellis Describes Hawatian Kapa-making. 45 


He had the advantage of living in intimate association with the people he 
describes shared by none of the previous witnesses we have cited, all of whom were 
but birds of passage, here one week, gone the next. Ellis had seen the tapa-making 
in Tahiti, and it was no new or mysterious process he was investigating, so I have 
given space for all he had to say even though repetition may seem useless. It cer- 
tainly serves to confirm or contradict the account of his forerunners. 

‘For several days past we have observed many of the people bringing home 
from their plantations bundles of young wazfc (a variety of the Morus papyrifera), 
from which we infer that this is the season for the cloth-making in this part of the 
island. [| July, 1823.] 

“This morning, the 17th, we perceived Keoua, the governor’s wife, and her 
female attendants, with about forty other women, under the pleasant shade of a 
beautiful clump of cordia or kou trees, employed in stripping off the bark from bundles 
of wautz sticks, for the purpose of making it into cloth. ‘The sticks were generally 
from six to ten feet long, and about an inch in diameter at the thickest end. They 
first cut the bark, the whole length of the stick, with a sharp serrated shell, 
and having carefully peeled it off, rolled it into small coils, the inner bark being 
outside. In this state it is left some time, to make it flat and smooth. Keoua not 
only worked herself, but appeared to take the superintendence of the whole party. 
Whenever a fine piece of bark was found, it was shown to her, and put aside to be 
manufactured into wazrizrzz, or some other particular cloth. With lively chat and 
cheerful song, they appeared to beguile the hours of labor until noon, when having 
finished their work, they repaired to their dwellings. 

“This wauti plant, of which the greater part of the cloths on this side of the 
island is made, is cultivated with much care in their gardens of sugar-cane, plantains 
etc., and whole plantations are sometimes appropriated exclusively to its growth. 
Slips about a foot long are planted nearly two feet apart, in long rows, four or six 
feet asunder. ‘Two or three shoots rise from most of the slips, and grow till they are 
six or twelve feet high, according to the richness of the soil, or the kind of cloth for 
which they are intended. Any small branches that may sprout out from the side of 
the long shoot, are carefully plucked off, and sometimes the bud at the top of the plant 
is pulled out, to cause an increase in its size. Occasionally they are two years grow- 
ing and seldom reach the size at which they are fit for use, in less than twelve or even 
eighteen months; when they are cut off near the ground, the old roots being left, to 
produce shoots another year. 

“The bark when stripped off and rolled up, as described above, is left several 
days; when, on being unrolled, it appears flat. The outer bark is then taken off, 


46 Ka Hana Kapa. 


generally by scraping it with a large shell, and the inner bark, of which the cloth is 
made, is occasionally laid in water, to extract the resinous substances it may contain. 
Each piece of bark is then taken singly, and laid across a piece of wood, twelve or 
eighteen feet long, six inches square, smooth on the top, but having a groove on the 
under side, and is beaten with a square mallet of hard, heavy wood about a foot in 
length and two inches wide; three sides are carved in grooves or ribs, the other into 
squares, in order that one mallet may answer for the different kinds of cloth they are 
accustomed to manufacture. 

“Various sorts of cloth are made with this plant, some remarkably fine and 
even; that which has been beaten with a mallet, carved in different patterns, much 
resembles muslin at first sight, while that made with a grooved mallet appears, until 
closely examined, something like dimity. There are other kinds very thick and 
tough, which look like wash-leather, but the most common sort is the pati, worn round 
the waists of the females. To make this a piece of bark is beaten until it is four 
yards long, and more than a yard wide, and of an equal texture throughout. Some- 
times two or three pieces of bark are necessary to make one piece of cloth. Five of 
these pieces when finished, are spread out one upon the other, and fastened together 
at one end. These five pieces make one pati. The inside pieces are usually white, 
or yellow; but the outside piece is stained, or painted, with vegetable dyes. No gum 
is used in the manufacture of the pati, except that contained in the bark, yet the fibres 
adhere firmly together. Those painted red or yellow, &c., are sometimes rubbed over 
with a vegetable oil, in which chips of sandal wood, or the seeds of the Jandanus odor- 
atissimus have been steeped. This is designed to perfume the cloth, and render it 
impervious to wet; it is, however, less durable than the common pai. 

“There is another kind of cloth called sapa moe (sleeping cloth), made princi- 
pally for the chiefs, who use it to wrap themselves in at night, while they sleep. It is 
generally three or four yards square, very thick, being formed of several layers of 
common tapa, cemented with gum,** and beaten with a grooved mallet till they are 
closely interwoven. The colour is various, either white, yellow, brown or black accord- 
ing to the fancy of its owner. Nearly resembling the tapa moe is the kihei, only it is 
both thinner and smaller. It is made in the same manner, and is about the size of a 
large shawl or counterpane. Sometimes it is brown, but more frequently white or 
yellow, intermixed with red and black [see Pl. A]. It is generally worn by the men, 
thrown loosely over one shoulder, passed under the opposite arm, and tied in front or 
on the other shoulder. 


*This was probably a local variety, and no specimen is in my collection which contains dozens of the kapa 
moe, but all these are of the usual five separate sheets, fastened together at one end only by a kapa tape or cord of 
other fibre as will be illustrated later. 


David Malo Tells of Kapa-making. A7 


“But the best kind of cloth made with the cultivated plant is the wazr7zrzz, which 
is made into patis for the females, and maros for the men. The patis are generally 
four yards long, and about one yard wide, very thick, beautifully painted with brilliant 
red, yellow, and black colours [see Pls. L, M, N |, and covered over with a fine gum and 
resinous varnish, which not only preserves the colours, but renders the cloth impervious 
and durable. The maros are about a foot wide, and three or four yards long. 

“The colours they employ are procured from the leaves, bark, berries or roots 
of indigenous plants, and require much skill in their preparation. One or two kinds 
of earth are also used in mixing the darker colours. Since foreigners have visited 
them they have found, upon trial, that our colours are better than theirs, and the 
paints they purchase from ships have superseded in a great degree the native colours, 
in the painting of the most valuable kinds of cloth.* 

“Their manner of printing is ingenious. They cut the pattern they intend to 
stamp on their cloth on the inner side of a narrow piece of bamboo, spread their cloth 
before them on a board, and having their colours properly mixed, in a calabash by 
their side, dip the point of the bamboo, which they hold in their right hand, into the 
paint, strike it against the edge of the calabash, place on the right or left side of the 
cloth, and press it down with the fingers of the left hand. ‘The pattern is dipped in 
the paint after every impression, which is repeated until the cloth is finished.” °° 

We will cite one more witness, a native one, to tell us of Hawaiian kapa-making. 
It is noteworthy that while he is the only native from any of the kapa-making islands 
that we can call upon, and while he lived and wrote at a time when there was certainly 
a good assortment of the best kapa in existence (although the Alu had already largely 
given up the pleasing work of decorating the cloth), he tells us very little that Cook 
and Banks and Ellis have not already told, and he tells that little in a manner that 
shows he was by no means appreciative of his people’s proficiency in this manufacture; 
to Davida Malo the Old, which he represents to a marked degree, was passing, and the 
New, which for us may be represented by foreign cloth, was now occupying his thought, 
and doubtless had his approval. 

If we could have cross-examined Malo we might have learned a little more, but 
not much, for his information in such matters was largely hearsay, and the curious 
compilation which bears the name of Malo’s Antiquities was mainly composed from 
contributions brought him by his pupils at Lahainaluna. He mentions casually one 
process not already noticed by his predecessors; indeed I owe to him the only infor- 
mation I have that the Hawaiians practised it,—the coloring of kapa by steaming in 


the zmu or underground native oven. How or why this was done he either did not 


3s This matter of foreign colors will be treated more fully later. 
3°W. Ellis, Polynesian Researches, London, 1853, iv, 109. Figures of these bambu type are given in P1. 8. 


48 Ka Hana Kapa. 


know or did not care to mention, and I have not been able to supply the deficiency 
by enquiries of the few old natives who might have heard of the process. 

Malo’s account of kapa-making is here given with the Hawaiian text and a free 
translation, omitting many of the repetitions of the Hawaiian, but holding strictly 
to the meaning of the original. The original text of Malo’s work has never been 
published (beyond extracts), and it exists in several manuscript copies, and the one 
here quoted is from a transcription’ I made more than forty years ago from the copy 
in possession of the Hawaiian Government (which has been lost for some years) 
collated with a copy in the library of this Museum. Four copies have been examined, 


and there is considerable variation in the text, though little that affects the meaning. 


MOKUNA XVI. 


1. Oke kapa ko Hawaii nei mea aahu, he 
ili noia no kekahi mau laau, he waoke, he ma- 
maki, he maaloa, he poulu; o ka waoke ka 
laau kanu nuuiia; o ka ilio ua waoke la ke ha- 
naia i kapa penei, na ke kane e kua ka waoke, 
ana ka wahine e uhole a pau ka ili a hoopulu 
a pulu. 

2. Alaila kuku ma ke kua me ka ie, a 
palahalaha i na la eha paha nui aku paha,a 
kaulai a maloo, alaila lole ia i kapa, kekahi ke 
palahalaha loa nae, ai pa’u no ka wahine keka- 
hi, o ka mea ololi iho lilo ia i malo no ke kane. 


3. Oka mamaki kahi laau hanaia i kapa, 
a i malo, i pa’u he laau ulu wale no ma ka 
nahelehele, e kii wale no ka wahine e uhole i 
ka ili oia laau, a lawe maia kalua i ka imu me 
ka palaa, oia ke kapa ulaula, ina i kalua pu ole 
me ka palaa oia ke kapa kelewai. 

4. E hoopulu no e like me ka waoke a 
pulu alaila, kuku ma ke kua me ka ie, a pala- 
halaha ma na la ekolu paha, eha paha, a kau- 
lai a maloo a lilo i kapa kekahi, ai malo, ai 
pau, he kapa paa ka mamaki, he liuliu ka 
aahu ana. 

5. O ka maaloa a me ka poulu, he mau 
laau kukuia laua i kapa, ua like no nae me ko 
ka waoke: a me ko ka mamaki: ke kuku ana, 
a me ka hana ana. Ua nui nae keanoona 
kapa, me ka pa’u, a me ka malo, a na ka wa- 
hine no a hoolilo ike kapaika maloi ka pa’u 
i mau anoe ma ka hooluu ana, i eleele, ulaula 
maomao, lenalena pela ia no. 


CHAPTER XVI. 


1. Kapa was the clothing in this Hawaii; 
it was made from the bark of certain trees [or 
shrubs] waoke, mamaki, maaloa and poulu. 
The waoke was much cultivated; the waoke 
bark was made into kapa in this way. The 
men got the sticks but the women peeled off the 
bark and soaked it until soft. 


2. It was then beaten on the kua with the 
ie. ‘This took four days, perhaps more, then it 
was hung up to dry. ‘hen the cloth if wide 
was kapa or pa’u for women, if long and nar- 
row, a malo for men. 


3. The mamaki also was made into kapa, 
pa’u and malo. It grew wild in the woods and 
the women peeled off the bark and took it to 
the oven. With dark kapa palaa, red kapa was 
made, if baked without the palaa it was the 
brown kapa, kelewai. 

4. This was soaked till soft like the waoke, 
then beaten on the kua with the ie, till it was 
spread out thin; three days perhaps, four per- 
haps was this work, and it was hung out to dry ; 
then it was kapa, pa’u or malo. ‘This mamaki 
was a strong cloth and durable to wear. 

5. The maaloa and poulu were beaten into 
kapa like the waoke and mamaki; the beating 
was the same so was the work. Great was the 
variety in form and kinds of kapa, the pa’u and 
the malo, and the women greatly increased the 
variety by coloring the malo or the pa’u either 
black, red, green, yellow, etc. 


This I made on a Remington typewriter of the earliest pattern printing capital letters only. 


George Bennetts Botanical Excursion. 49 


6. Ina i hooluuiai ka hilia pau ia, alaila, 
hooluu hou ma ka lepo, a lilo ia i kapa eleele, 
ua kapaia he pulou kahi inoa, he ouholowai 
kahi inoa. 

7. Ina i hooluuia i ka mao, ke kapa omao- 
mao no io, ina hooluuia i ka holei he lenalena 
ia kapa, ina hooluu ole ia, he keokeo ia kapa, 
ina i kuku pu ia me ka welu ula, he paiula 
ia kapa. 

8. He nui ka inoa o na kapa, ua kapaia 
ma ke ano o ka wahine hooluu ana, e like me 
ke ano o ia hooluu ana, pela no ke ano e kapa 
ia aku ai. 

9. He nui ke anoo na pa’u ke hooluuia, 
ina 1 hooluuia i ka olena, he kamalena ia pa’u, 
ina hooluuia i ka niu, he halakea ia pa’u, pela 
no ka nui o na inoa ma ka hooluu anaa ka 
wahine. 

10. Pela no ka nui o na malo ma ke ano 
o ka hooluu ana, ina hooluuia i ka noni, he 
kuaula ia malo, he pukohukohu, he puakai, o 
- ka pa’u i hooluuia i ka olena, he pa’u palupalu 
ia, he uaua kahi pa’u, e like me ke hapalapala 
ana, pela i nui ai na inoa. 

11. Pela no ko na malo mau inoa, he puali 
kahi malo, he kapeke kahi malo. 

12. QO keia mau mea ko Hawaii mau mea 
aahu, mau mea hume, a mea kakua oia na mea 
1 pono ai ka poe kahiko o Hawaii nei. 


6. If the kapa was dyed with kukui, it 
was dyed again with mud; then was the kapa 
black and it was called pulou or ouholowai. 


7. Ifthe dye-stuff was mao then the kapa 
was green; if holei the kapa was yellow; if no 
dye was used the kapa was white; if beaten 
together with red bits [of kapa] the kapa is 
called paiula. 

8. Many were the names of kapa derived 
from the manner in which the women colored 
or stamped it. 


g. Various were the tints the pa’u were 
dyed ; when dyed with olena the pa’u was kama- 
lena; when dyed with cocoanut, the pa’u was 
halakea. Many were the names from the dye- 
ing of the women. 

10. So the malo was named according to 
its coloring; dyed with noni the malo was kua- 
ula, pukohukohu, or puakai. A pa’u dyed 
with olena was soft and was called uaua. Like- 
wise the pattern printed on kapa gave names. 


rr. Some malos were called puali [gird- 
ing], others kapeke or two-colored. 

12. These things were the clothing of 
Hawaii tied or girded around the loins as seemed 
good to ancient Hawaiians. 


The next record of importance to our study is by George Bennett, F.L.S. He 


writes,—“On the roth Dec., 1829, I visited the district of Wouhala on Oahu. Among 
the specimens collected were,—A species of Cyathodes called pokeawe by the natives, 
bearing small red berries....A species of Phytolacca called poporo /umaz by the natives. 
The berries... .yield a reddish brown juice used for dyeing native cloth; the berries 
are internally of a purplish red colour....A species of Dianella named wéz by the 
natives, bearing small berries of a mazarine blue, which are used by the natives in 
making a permanent blue dye... .The turmeric plant (Curcuma longa) called orezna by 
the natives, is abundant, wild; the root, as well as that of the zon (Morinda citrifolia) 
is used for dyeing the native cloth of a bright yellow colour.” 

In 1834 Frederick Debell Bennett, Esq., F.R.G.S., visited the Hawaiian Islands 
on a whaling voyage, undertaken, on the part of Dr. Bennett, to study the anatomy 
and habits of the southern whales. The information he gives us is interesting, if it 


38 An Account of the Sandal Wood tree, etc. Magazine of Nat. Hist. Tondon, vy, 255. 
Memorrs B. P. B. Museum, Vou. IIT.—4. 


50 Ka Hana Kapa. 


adds little to what former travelers have told. He had touched at Pitcairn and Tahiti 
on his voyage, and is now on Oahu. 


“The primitive cloth, fafa, is yet very commonly manufactured at this island. 
It is here prepared from the bark of the mamakz, and from that of the waw/z, or paper- 
mulberry tree. It is generally inferior to that prepared at the Society Islands, but no 
Polynesian nation surpasses the Sandwich Islanders in the gaudy colours and compli- 
cated patterns they communicate to this fabric. The colours they chiefly employ are 
red, derived from vegetables, as well as from an ochreous earth; yellow from the root of 
the Indian-mulberry [noni], and from a second vegetable dye which gives a peculiarly 
bright amber-colour; black, from the carbonaceous residue of burned candle-nuts; and 
a delicate green-yellow, from an infusion of the flowers of the cotton plant; a peculiar 
dull-gray, or slate colour, is also produced, by immersing the cloth in the black mud 
of the taro fields. ‘The mordants they use to fix these colours are the oil of the candle- 
nut, and the astringent water of the taro patches [?]. The more intricate patterns 
are impressed upon the cloth with carved bamboos, in a manner analogous to that in 
which European wood-cuts are executed.” *° 


Before leaving the Ellis account of the Hawaiian kapa work I am inclined to turn 
to the same writer’s account of the Tahitian Tapa making,—it will be remembered 
that Mr. Ellis was a missionary in the southern group before coming to Hawaii,—and 
compare, even at the cost of some repetition, the similar work of the Tahitians. 
A part of the account might properly be relegated to the chapter on the uses of Tapa, 
but it is perhaps best to give the story as the author told it, as the manufa@ture and 
use are so closely intertwined in his narrative. 

“The dress of the sexes differed but little; both wore the fave, or folds of 
cloth, round the waist. The men, however, wore the ma/o or girdle, and the “puta or 
poncho, while the females wore over their shoulders the light ahupu or ahuteapono, in 
the form of a vest, or loose scarf or shawl. 

“Next to those kinds of labour necessary to obtain their subsistence, and con- 
struct their dwellings, their apparel claimed attention. This, though light, required, 
from the simple methods by which it was fabricated, a considerable portion of their 
time. Cloth made with the bark of a tree, constituted a principal article of native 
dress, prior to the introduction of foreign cloth. It is manufactured chiefly by females, 
and was one of their most frequent employments. ‘The name for cloth, among the 
Tahitians, is aw. "The Sandwich Island word /afa is, we believe, never used in this 
sense, but signifies a part of the human body. In the manufacture of their cloth, the 


39 Probably mao (Abutilon incanum); see chapter on the raw material used. 
4° Narrative of a Whaling Voyage round the globe, from the year 1833 to 1836. London, 1840. Vol. i, p. 216. 


Tapa-making in Tahite. 5a 


natives of the South Sea Islands use a greater variety of materials than their neigh- 
bours in the northern group: the bark of the different varieties of waw/z, or paper 
mulberry, being almost the only article used by the latter; while the former employ 
not only the bark of the paper mulberry, which they call awéc, but also that of the aoa 
and of the breadfruit.*’ 

‘The process of manufacture is much the same in all, though some kinds are 
sooner finished than others. When the bark from the branches of the breadfruit or 
auti is used, the outer green or brown rind is scraped off with a shell; it is then 
slightly beaten, and allowed to ferment, or is macerated in water. A stout piece of 
wood resembling a beam, twenty or thirty feet long, and from six to nine inches 
square wzth a groove cut in the under side, is placed on the ground; across this the 
bark is laid and beaten with a heavy mallet of casuarina or iron-wood. ‘The mallet 
is usually fifteen or eighteen inches long, about two inches square, and round at one 
end for the purpose of being held firmly. The sides of the mallet are grooved; one 
side very coarse or large, the opposite side exceedingly fine. One of the remaining 
sides is generally cut in chequers or small squares, and the other is plain or ribbed. 
The bark is placed lengthwise across the long piece of wood, and beaten first with the 
rough side of the mallet, and then with those parts that are finer...... 

“Vegetable gum is rarely employed; in general, the resinous matter in the 
bark is sufficiently adhesive. The fibres of the bark are completely interwoven by 
the frequent beating with the grooved or chequered side of the mallet; and when the 
piece is finished, the texture of the cloth is often fine and even; while the inequalities 
occasioned by the fine grooves, or small squares, give it the appearance of woven cloth. 
During the process of its manufaure, the cloth is kept saturated with moisture, and 
carefully wrapped in thick green leaves every time the work-women leave off; but as 
soon as it is finished, they spread it to dry in the sun, and bleach it according to the 
purpose for which it is designed. The ore or cloth made with the bark of the aoa, is 
usually thin and of a dark brown colour; that made with the bark of the bread-fruit 
and a mixture of the auti, is of a light brown or fawn colour, but the finest and most 
valuable kind is called Aobw. It is made principally, and sometimes entirely, from 
the bark of the paper-mulberry, and is bleached till beautifully white. This is chiefly 
worn by the females. 

“Tt is astonishing that they should be able, by a process so simple, to make 
bales, containing sometimes two hundred yards of cloth four yards wide; the whole in 
one single piece, made with strips of bark seldom above four or five feet long, and 
when spread open not more than an inch and a half broad—joined together simply 


"It" willfbe seen”in the chapter on the raw material that the Hawaiians were not so limited in their resources 
' 4 


as Mr. Ellis supposes. 


52 Ka Hana Kapa. 


by beating them with a grooved mallet. When sufficiently bleached and dried, the 
cloth is folded along the whole length, rolled up into a bale and covered with a piece 
of matting —this is called rua vehe. "The wealth of a chief is sometimes estimated 
by the number of these covered bales which he possesses. The more valuable kinds 
of cloth are rolled up in the same way, covered with matting or cloth of an inferior 
kind, and generally suspended from some part of the roof of the chief’s house. The 
estimation in which it was held has been greatly diminished since they have become 
acquainted with European cloth and large quantities are now seldom made. It is, 
however, still an article in general use among the lower classes of society, and the 
mother yet continues to beat her parure, or native pareu, for herself and children. 

““A number of smaller pieces are still made, among which the tiputa is one of 
the most valuable. It is prepared by beating a number of layers of cloth together, to 
render it thicker than the common cloth: for the outside layer they select a stout 
branch of the auti or bread-fruit, about an inch and a half in diameter: this they pre- 
pare with great attention, and, having beaten it to the usual width and length, which 
is about ten feet long and three feet wide, they fix it on the outside and attach it to the 
others by rubbing a small portion of arrow-root on the inner side before beating it 
together. The tiputa of the Tahitians corresponds exactly with the poncho of the 
South Americans. It is rather longer, but is worn in the same manner, having a hole 
cut in the centre, through which, when worn, the head is passed; while the garment 
hangs down over the shoulders, breast and back, usually reaching, both before and 
behind, as low as the knees. Next to the tiputa, the a#u/ara is a general article of dress. 

“These are either square like a shawl, or resemble a scarf. They are sometimes 
larger and correspond with a counterpane more than a shawl, and are always exceed- 
ingly splendid and rich in their colours. 

“The natives of the Society Islands have a variety of vegetable dyes, and dis- 
play more taste in the variations and patterns of the cloth, than in any other use of 
colours. Much of the common cloth is dyed either with the bark of the aito, casuarzna, 
or tiari, alewrites. This gives it a kind of dark red or chocolate colour, and is sup- 
posed to add to its durability. The leaves of the arum are sometimes used, but 
brilliant red and yellow are their favorite hues. The former which they call mati, is 
prepared by mixing the milky juice of the small berry of the mati, ficus pro/rxa, with 
the leaves of the tou, a species of cordza. When the dye is prepared by this combina- 
tion, it is absorbed on the fibres of a kind of rush, and dried for use. It produces a 
most brilliant scarlet dye, which, when preserved with a varnish of gum, retains its 
brightness till the garment is worn out. The yellow is prepared from the inner bark 
of the root of the nono morznda citrzfolia, and though far more fugitive than the scar- 
let of the mati, is an exceedingly bright colour. The yellow dye is prepared by infusing 


Tahitian Decoration. 53 


the bark of the root in water in which the cloth is allowed to remain till completely 
saturated, when it is dried in the sun. ‘The mati or scarlet dye, is moistened with 
water and laid on the dry cloth. ‘Their patterns are fixed with the scarlet dye on a 
yellow ground, and were formerly altogether devoid of uniformity or regularity, yet 
still exhibiting considerable taste. They now fix a border round the ahufara and 
arrange the figures in different parts. Nature supplies the pattern. They select 
some of the most delicate and beautiful ferns, or the hibiscus flowers: when the dye 
is prepared, the leaf or flower is laid carefully on the dye; as soon as the surface is 
covered with the colouring matter, the stained leaf or flower, with its leaflets or petals 
correctly adjusted, is fixed on the cloth, and pressed gradually and regularly down. 
When it is removed, the impression is often beautiful and clear. 

“The scarf or shawl and the tiputa, are the only dresses prepared in this way, 
and it is difficult to conceive of the dazzling and imposing appearance of such a dress, 
loosely folded round the person of a handsome chieftain of the South Sea Islands, who 
perfectly understands how to exhibit it to the best advantage. ‘This kind of cloth is 
made better by the Tahitians than any other inhabitants of the Pacific. It is not, 
however, equal to the wairiirii of the Sandwich Islanders. Much of this cloth, beauti- 
fully painted, is now employed in their houses for bed and window curtains, &c. 
Several kinds of strong cloth are finished with a kind of gum or varnish, for the 
purpose of rendering them impervious. 

“But in the fabrication of glazed cloth, the natives of the Austral Islands, 
especially those of Rurutu, excel all with whom I am acquainted. Some of their 
pieces of cloth are thirty or forty yards square, exceedingly thick, and glazed on both 
sides, resembling the upper side of the English oil-cloth table-covers. It must have 
required immense labour to prepare it, yet it was abundant when they were first 
discovered. It is usually red on one side and black on the other, the latter being highly 
varnished with a vegetable gum. 

“Tn the manufacture of cloth the females of all ranks were employed; and the 
queen and wives of the chiefs of the highest rank, strove to excel in some depart- 
ment—in the elegance of the patterns or the brilliancy of the colour. They are fond 
of society, and worked in large parties, in open and temporary houses erected for the 
purpose. Visiting one of these houses at Eimeo, I saw sixteen or twenty females all 
employed. ‘The queen sat in the midst, surrounded by several chief women, each with 
a mallet in her hand, beating the bark that was spread before her.. The queen worked 
as diligently and cheerfully as any present. 

‘The spar or square piece of wood on which the bark is beaten, being hollow on 
the under side, every stroke produces a loud sound, and the noise occasioned by 
sixteen or twenty mallets going at one time, was to me almost deafening; while the 


54 Ka Hana Kapa. 


queen and her friends seemed not only insensible to any inconvenience from it, but 
quite amused at its apparent effect on us. The sound of the cloth-beating mallet is 
not disagreeable, where heard at a distance in some of the retired valleys, indicating the 
abode of industry and peace; but in the cloth-houses it is hardly possible to endure it. 

“As the wives and daughters of the chiefs take a pride in manufacturing 


superior cloth, the queen would often have felt it derogatory to her rank, if any other 


me 4+ Asa Oe%%: 


Fray 
; . ut ‘ert 
= A - 


<> >a! 


FIG. 20. A MELANESIAN KAPA. BROWN AND BLACK STAMPED ON BUFF. BRITISH MUSEUM. 


females in the island could have finished a piece of cloth better than herself....The 
ahu or cloth made with the bark of a tree, although exceedingly perishable when 
compared with European woven cloth, yet furnished, while it lasted, a light and loose 
dress adapted to the climate and the habits of the people. The duration of a Tahitian 
dress depended upon the materials with which it was made, the aoa being considered 
the strongest. Only the highly varnished kinds were proof against wet. The beauty 
of the various kinds of painted cloth was soon marred, and the texture destroyed by 
the rain, as they were kept together simply by the adhesion of the interwoven fibres 


of the bark. Notwithstanding this, a tiputa, or a good strong pareu, when preserved 


Melanesian Bark-cloth. 55 


from wet, would last several months. Though the native cloth worn by the inhabi- 
tants was made by the women, there were some kinds used in the temples in the 
service of the idols, which were made by men, and which it was necessary, according 
to the declarations of the priests, should be beaten during the night.” * 


With this imperfect gleaning of the past history of Polynesian kapa-making, 
we may leave this part of our subject for the present and take up the story of the 
islanders beyond the Polynesian boundary. We shall have occasion to return to some 
of these histories when we take up, in the annotated list of Kapa, the products in hand 
from these different islands, and to that catalogue I have reserved such corrections or 
changes as later information may render needful rather than interrupt the narrative 
with obtrusive notes. 

Turning westward we find in Micronesia a mixed race, shading from West to 
East, from the Caroline Islands to the Marshall and Gilbert groups; the Malay 
influence stronger at the West, the Polynesian at the East. Through this great 
extent of small island groups, while kapa was made here and there, it was not a suc- 
cessful competitor with the native loom. Where it was made the materials and pro- 
cedure were the same as in the eastern islands already described, and the product was 
never, so far as known, remarkable. ‘To this one exception should be noted from the 
Marshall Islands where most beautiful mats are made from the leaves of the Pandanus. 
This is a kapa in the U. S. National Museum, shown in Plate 28, representing the 
national mat so perfectly, and recalling the line work of the Samoans. 


MELANESIAN BARK-CLOTH. 


In the extreme western bounds of our Pacific region, the New Hebrides, Solo- 
mon Islands, Bismarck Archipelago and New Guinea, we find a rather coarse, but by 
no means uninteresting kind of kapa. As we approach the route by which the paper- 
mulberry seems to have entered the Pacific, we find less of it and of its cloth, but 
this seems explicable when we consider the need of careful cultivation for this shrub, 
and the comparatively unsettled, warring races we now have to deal with: few traces 
shall we find of the carefully tended ponds of taro or plantations of waoke. These 
people of darker skin, hair more or less curled, and lower civilization, could find, in the 
forests, trees whose bark could be used for cloth, and over whose cultivation they had 
neither care no control. Hence much of the tapa from the Melanesian region is harsh 
to the touch and coarsely made from the bark of figs and other trees of much less 
fineness in bark structure than those we have seen used hitherto. The designs are 
also quite distinct from the Polynesian, as may be seen in Fig. 20, which is fairly 


4 Polynesian Researches by William Ellis. Ed. London, 1553. I, 178. 


56 Ka Hana Kapa. 


typical of much of the design of New Guinea and the New Hebrides. Although the 
Loyalty and New Hebrides groups were nearest to the Fijian, nearly west, the cloth 
and its ornamentation seems quite distinct from that of the eastern groups. 

We may quote Codrington, whose knowledge of these natives was most con- 
siderable for his time, although he gives us mainly the names, leaving us to other 
sources for the ways and means, and whether the travelers in these regions have cared 
less for the process now interesting us, or the natives were less willing to communi- 
cate to strangers their domestic and peaceful works, little is to be gathered from the 
printed story. He tells us:— 


“Bark-cloth, /afa, hammered out from the bark of paper-mulberry is made, but 
roughly, in Ysabel, and worn in Florida; it was made till lately in Ulawa and San 
Cristoval; a rough kind, made perhaps always from the bark of banyan figs, is used 
in the New Hebrides. When such cloth was in use the name of it, e. g., 472 in Ysabel 
and Florida, sa/a in Ulawa, was ready for European cloth. In Aurora gavw and in 
the Banks Islands nearest to Aurora gagavu, is used for cloth, no doubt identical with 
the Maori kahu and kakahu. In Mota the word szopfa was applied at once to European 
cloth, which as the natives knew nothing of tapa, was surprising. ‘The native explana- 
tion is, that the Tongans, who for two years visited the Banks Islands and made a 
short settlement at Qakea, were clothed with szofa. They have in fact shifted the 
vowels in szapo, hiapo (the Maori fzako, bark), the name of bark-cloth in Tonga and 
Samoa. In Motlav, again, the word mwa/sam was applied to cloth, of which the first 
syllable is no doubt the common mado of Fiji and elsewhere.” * 

So little is really known of the Flora of New Guinea, the Solomon Islands, the 
New Hebrides and the Bismarck Archipelago, and hardly more of their manufactures, 
that after gathering all that the explorers can tell us, we are compelled to turn to the 
specimens of the cloth in hand and question them. From two German doctors who 
have lately explored the little-known New Ireland (unfortunately renamed by the Ger- 
man Government Neu Mecklenberg), we get the following facts:—‘‘Der Baum, von 
dem das Bastzeug gewonnen wird, ist der Brodfruchtbaum (Ar/ocarpus tncisa). Ein 
junger Stamm von Armesdicke wird in vollem Safte abgeschnitten und von einem 
etwa 1% m langen Stticke wird mit den Schale einer Perlmuttermuschel die Rinde 
abgeschabt. Nun wird der Bast so lange geklopft, bis er sich von Stamme abstreifen 
lasst. Mann legt ihn zum Quellen’ins Wasser, zieht ihn moéglichst weit auseinander 
und lasst ihn in dann an der Sonne trocknen. Die ganz Arbeit wird von Weibern 
besorgt, und von ihnen Sind auch die Stiicke erworben. Das Bastzeug malu sieht 
gelblich-weiss bis braunlich aus, ist schlauchformig, und die Fasern sind stark ausein- 


“Codrington, The Melanesians, p. 320. 


Bark-cloth tn New Gutnea. 57 


ander gezertt. Zwei Stticke der Sammlung sind tiber 2 m lang....Die gewénlichen 
Farben sind gebrannter Korallenkalk, gebrannte rote Erde und verkohltes Holz. 
Diese Farben werden in Kokosschalen mit Wasser verriihrt und mit dem Finger oder 
irgend einem Stabchen aufgetragen. Zum gelbfarben dienen in King die frischen 
Wurzelknollen der Pflanze eano (Curcuma longa), in Pugusch die Rinde des Baumes 
pakorr. Die blaue Farbe ist Berliner Blau.” * 


It is certainly primitive to beat the bark off the tree instead of cutting the log; 
the appearance of Prussian Blue in place of indigo is interesting. I am not acquainted 
with the cloths from the different groups of this wild and little known archipelago. 
The only one seen was much like the fabric made generally in New Guinea, coarse 
and poorly beaten, but sufficient for clothing of which the natives of some parts of 
that great island have almost no use and the bark-cloth is made for dancing skirts 
principally. Of these the martyred apostle to New Guinea writes:—‘‘Nowhere in 
New Guinea have I found spinning or weaving. They dye the petticoats and pieces 
of native cloth (which is made from the bark of a tree and used at dances), with mud, 
turmeric, mangrove bark, ame, sosogoro and other plants.” Chalmers is speaking of 
the people of the extensive island of Kiwai at the mouth of the Fly River on the south 
coast of New Guinea. Here, as everywhere in the Pacific tapa region, we find tur- 
meric used as a yellow dye. He continues:— 


‘In making petticoats, some of the fibre of the young fronds of the sago palm 
is steeped in a muddy hole and left there for a few days; when taken out and washed, 
it is quite a brown colour. To produce the yellow dye turmeric is scraped and mixed 
with water, and in that some of the fibre is steeped. The other dyes are procured in 
the same way. Having no pots of any kind in which to boil fibre and bark, or seeds, 
they are not able to secure the same distinct and fast colours as those employed east 
of Orokolo.” * 


Melanesian or Papuan the fabric is much the same. Owing to the scant fashion 
of clothing in vogue in these western Pacific islands the specimens that have reached 
museums are generally narrow strips, usually of a brown colour, but often decorated 
with figures of a darker hue. Indeed these figures are the best distin¢tion they bear, 
for there is little variation in the quality of the cloth; one would think all had been 
hammered out on the tree stem, so coarse is the texture. There are some exceptions 
to this statement for I have seen and handled quite soft specimens, and we have some 
in this Museum from German New Guinea of considerable size. 


“Stephan, Dr. Emil und Graebner, Dr. Fritz, Neu-MWecklenberg (Bismarck Archipel ), Berlin, 1907, p. 53. 
45Rey. J. Chalmers On the Natives of Kiwai Island. Journ. Royal Anthrop, Institute, 1903, p. 120. In other 
parts of New Guinea, pots were made or procured from the native traders. 


PORTIONS OF KAPA FROM WESTERN PACIFIC, 


FIG, 21. 


New Guinea Technique. 59 


The Dutch Expedition to New Guinea in 1903 under Dr. Arthur Wichmann, 
adds to our information considerably, and I shall quote from the volume on the 
Ethnographic results by Dr. G. A. J. Van der Sande (1907):— 


“The preparation of bark is in Papua Talandjang a very common work, as 
here the bark forms almost exclusively the dress of the married women. Like every- 
where, this preparation is done by the women. At Asé a piece of a sapling of + 2 m. 
in length and 12-14 cm. in diameter, cut off transversely at both ends, probably 
brought by the women themselves from the forest or the garden in a boat, was lying 
on the ground. Evidently it had been taken entirely out of the stem part, for I saw 
no traces of newly cut-off branches, and knots were very rare. Witha shell (Cyrena), 
obtained, it was said from Humboldt Bay, the top layer of greyish green bark was 
scraped off. A previous heating or even a slight superficial charring of the stem, as 
described by Schellong*’ of Finsch Harbour, had not taken place here. After the 
scraping, the tree as it was lying, was beaten on the outside with a short piece of wood, 
here called /ema, always taking care to beat neither transversely, nor lengthways, but 
in an angle of + 45°. Small drops of moisture were issuing from the bark at each 
blow, and gradually this was beginning to lie loosely round the stem, as it became too 
wide for it. Near and round the knots, the connection between the wood and the bark 
here so much closer, was relieved by slight blows. Constantly turning the tree over, 
the whole surface was so treated, and after this the spot where most knots occurred in 
the same longitudinal line was carefully selected for cutting the bark open length- 
ways, in order to obtain a minimum of holes in the middle of the piece. The bark then 
dropped easily from the stem, except where, with a few knots the connection had still 
to be severed with a knife. From the inside of the flatly outstretched bark, a thin, 
but tough, white fleece was now removed by lengthwise scraping with the shell, and 
after this the beating proper began. 

“By this beating the bark obtains a darker colour. All the time one or more 
large, flat, round stones, designated as gabbro, were lying under the spots where the 
beating occurred. As long as the bark was still hard, it was lying extended, after it 
had become more pliable under the beating, care was taken that the bark by a trans- 
verse folding was lying all the time in a four fold layer on the stone, carefully avoid- 
ing to beat on the folds themselves, by which the fibres might break transversely. 
During this preparation the bark lost plenty of moisture, it became thinner, broader 
and a little shorter, but also looser; the fibres were here and there so much parted 
from each other in a transverse direction, that it became possible to look through the 
piece. After this, the article was placed for a longer or shorter period in the water, 


46Ueber die Herstellung einiger Ethnographica der Gegend Finschhafen’s (Kaiser Wilhems-Land), Intern. 
Arch. f. Ethnogr. Leiden, vol. i, 221. (1888.) 


60 Ka Hana Kapa. 


wrung, mara puje nugadidi, hard by two women, standing opposite each other, holding 
it lengthwise and then hung outside the house in the sun todry. This entire manipula- 
tion took place in the village itself, presumably because there is no very great safety 
for the women in the forests, or because the men are not inclined to stay close by, as 
in Central Celebes,*’ till the work is finished. 


FIG. 22. CHIEF’S CLOAK FROM JABIN, NEW GUINEA. 


“T never saw the boiling in an earthenware pot with the addition of ashes, in 
order to obtain a white colour, or a fermentation of the moist bark wrapped in leaves 
of Livestonta rotundifolia, as is reported from Celebes. The bark is lighter or darker 
according to the kind of tree which supplied it; this also holds good, as I was told by 
missionaries, for Geelvink Bay; both kinds are worn, whilst in Kaiser Wilhelms 
Land only the lighter kind, supplied, according to Schellong | 1888, 221] by two kinds 
of tree, is used. The common name of the material is in Humboldt Bay as well as on 


“ Adriani and Kruyt, 1gco. Dr. M.- en Alb. C.-. Van Posso naar Mori. Mededeel, van wege het Nederl. 
Zend. genootsch. Rotterdam. Vol. xliv, p. 135. 


Bark-cloth in Borneo. 61 


Lake Sentani mara, sometimes shortened to mar, the addition chembau, therefore 
mara chembau for the red brown kind, according to my interpreter, points to the 
species of tree. 

‘Not much attention was given in Asé to the nature of the beating instrument. 
Stones, as used on Celebes (Adriani and Kruyt, /oc. wz, p. 139) but also in New 
Guinea* (Schmeltz), or coral beaters (Schellong, /oc. c¢., p. 221), as known of Finsch 
Harbour, carved on the striking surface, or wooden beaters. with circular grooves as 
in the possession of the Utrecht collefion from Geelvink Bay, and as illustrated by 
Uhle* from Doré, by Erdweg*° from Kaiser Wilhelms Land, and by Edge-Partington 
(Album 1895, pl. 178) from British New Guinea, were not known here.” *" Fig. 23. 


While the decorations on the Papuan bark-cloth are generally rude, and red and 
yellow appear to be the favorite colors, on the Solomon Islands, a peculiar blue is com- 
mon in the specimens in hand, and the figures in this group are often of natural 
objects, as may be seen in Pls. 29 and 30. The figures often seen on the New Guinea 
cloth are regular and well drawn, and will be considered later with the subject of design. 

A single example may, however, be given here to show the decoration of a 
chief's garment, his Makwzx or poncho. In Fig. 22 the material is a soft, rather 
coarse-fibred, buff-colored kapa with dull red figures generally bordered with a black 
ciliate line. The effect is not unpleasing in this specimen from German New Guinea. 
[B. P. B. M., No. 1769. ] 

Before turning to the Malay element in Borneo and the Malay Peninsula we 
may look at the tapa-making in Japan fifty years ago. Sir Rutherford Alcock was 
writing from this then new and little understood country. He was at Atami Bay. 
‘The manufacture [of paper] here, at least, consists entirely of the produce of bark 
of trees, with coloring matter introduced in the process. I could not ascertain the 
botanical character of the trees, for only the bark already pulled off is brought from 
the surrounding hills. But more than one plant of the growth of shrubs is employed; 
some for the fibrous quality, others for glutinous properties. The process is very 
simple and requires no elaborate machinery. The bark is first steeped in water 
until thoroughly softened, it is then beaten with wooden mallets until reduced to a 
state of mash, it is then again macerated in water, and when finally brought into a 
pulpy and homogeneous state, any colouring matter desired is introduced, and the 


4 Intern. Arch. f. Ethnogr. I, 233. Steinerne Schlager fiir Tapabereitung yon Ost Neu Guinea. 

4 Uhle, Dr. Max—Holz-und Bambusgeradthe aus Nord-West-Neu-Guinea. Publ. der Kon. Ethnogr. Museum 
zu Dresden. Leipzig, vol. vi, no. 4521, pl. vii, fig. 1. 

S°Die Bewohner der Insel Tumleo, Berlinhafen, Deutsch-Neu-Guinea. Von P. M. J. Erdweg. Mitt. d. Anthro- 
pologischem Gesellschaft in Wien. Bd. xxxii, p. 308. 

5tNova Guinea. Resultats de L’Expédition Scientifique Néerlandaise a la Nouvelle Guinea, en 1903, sous les 
auspices de Arthur Wichman. Leyden, 1907, vol. iii, p 234. 


62 Ka Hana Kapa. 


pulp thus prepared, and in a very liquid state, is poured over wire frames, much as in 
England, and dried.” * 

Here we have paper-making pure and simple, a paper of which I have samples, 
and they are in no wise better than some made by the Hawaiians a hundred years ago. 
In both cases the material and the preliminary pulping process were alike, but with the 
Hawaiian the pulp was less watery and beaten into its thin and even texture by a skill 
not required in pouring pulp on the wires and leaving it to dry to the desired consistency. 

From the New Hebrides many specimens are found in museums, but they are 
generally small and often decorated with lined and geometric patterns in black or 


Fig. 23. TAPA BEATERS FROM BRITISH NEW GUINEA, BRITISH MUSEUM. EDGE-PARTINGTON. 


dark brown on a buff ground, Fig. 21. In this Museum is a piece of tapa attributed 
to the New Hebrides, and collected some years ago, of a rough texture and stained 
with a blue similar to that of the Solomon Islands, over which are drawn with a bright 
red outline three forms many times repeated (Fig. 24), of which I do not understand 
the full significance, except the first which seems to represent the dugong; the second 
appears in many modifications. The piece measures 32X60 in. (B. P. B. M., 6982.) 

North of the New Hebrides is the Santa Cruz group, the inhabitants belonging 
to the same race and having similar looms on which fine mats are woven. ‘The bark- 
cloth is similar in structure and the decoration of which these people are capable is 
seen on Pl. 33, from a specimen in the U. S. National Museum from the Wilkes 
Expedition. Portions of the design are quite like some of the Hawaiian. 


* Rutherford Alcock, Journ. Roy. Geog. Soc., xxxi, 347. 


On the Malay Peninsula. 63 


Without going far from the same neighborhood we visit a different race, and the 
bark-cloth is made much the same way. Quoting from the Sarawak Gazette, 1894, 
p. 121,—‘‘ There is the tree Audit Takdlong, which the Dyaks pound until it becomes 
soft in texture and then manufacture into the dajus (jackets) and chawats, and very 
pleasing to the eye too are these garments, in hue reminding one of the colour of a 
new saddle whilst in length of time may wear quite as well, if not better than a gar- 
ment of ‘bazaar cloth’.” Mr. Burbridge (7ke Gardens of the Sun, 1880, p. 175) says 
that among the Muruts the Chawats are made of the bark of Artocarpus elastica. 
“The bark is pulled off a tree in broad strips and is very united and flexible; it is then 
hammered all over with a heavy wooden instrument, which has a flat surface on one 


FIG. 24. DESIGNS ON NEW HEBRIDES TAPA. 


side cut in deep cross lines like a file; this breaks up the harder tissues of the bark 
and reduces it to a very pliant, though by no means united, tissue. The bark being 
full of rents and holes this difficulty is overcome by transverse darning: one of these 
coats now before me has no fewer than 270 transverse strings on the back alone, each 
thread penetrating the outer surfaee only, and assists to work out a cross pattern for 
ornamentation. ‘The size of a strip of bark for a baju is about 5 ft. x 18 in.” % 

When I turn to the Malay Peninsula I find not only the Malay race, but a far 
more primitive one, still in the exercise of pre-Malay customs, and about these still 
pagan races Messrs. Skeat and Blagden** have given us much information. I shall 
quote them as follows :— 


‘The girdle of bark-cloth is so well-known and so widely spread throughout S. E. 
Asia, the Malay Archipelago, and the Pacific Islands, that a very few words about it 
should here suffice. The finest and best known variety of this cloth is the ‘tapa’ cloth 


33 Exploration of Mount Kina Balu, North Borneo, by John Whitehead, 1893, p. 75. 
54Pagan Races of the Malay Peninsula, by W. W. Skeat and C. O. Blagden. London, 1906. 


64 Ka Hana Kapa. 


of Polynesia. ‘The cloth made by the tribes of the Malay Peninsula is, as a rule, more 
roughly manufactured, though some very good cloth, decorated with zigzag patterns, 
is made in Perak. An interesting point is that the grooving or toothing of the bark- 
cloth mallet used by some of the Jakun runs longitudinally instead of transversely 


BP, 


oar vt 


as in specimens from Rotuma. [I, page 140. | 
“The bark-cloth which forms the ordi- 


nary workaday wear of all the wilder branches 


Hay. a, ?~ ea 


Se 


of these tribes is usually made from the same re ehg y 
material as the “tapa” cloth of Polynesia, though | 
it is rarely, if ever, quite so finely worked up, 
and is generally, in fact, somewhat roughly 
made. When stripped from the tree it is beaten 
out by means of a wooden mallet, either round 
or toothed. A specimen of the latter, which was 
collected by the writer among the Blandas of 
Selangor, is now in the Cambridge Museum; 
this specimen is grooved or toothed transverse- 
ly, as in Sakai specimens from Batang Padang 
(Perak), whereas in other districts, more under 
Semang influence, the flat under surface of the 
mallet is subdivided into a large number of 
small squares. The direction of the grooves or 
teeth must of course depend upon the position 
in which the operator sits or stands with respect 
to his work. The cloth when made is often 
decorated with designs, which again bear a 
curious family resemblance to the main designs 
sometimes seen on “tapa” cloth. 


“The tree from which the bark is gen- 


. k FIG. 25. SAKAI GIRL OF SOUTH PERAK. 
erally taken is a kind of wild bread-fruit tree Skeat & Blagden, I, 152. 


(Artocarpus Kunstler’, Hook.), which is called 
by the Malays “terap” or “t’rap”. But the bark of other trees (even that of the Upas 
tree, Antzarts toxicaria, Bl., which furnishes the deadly dart-poison of these tribes) 


is also very generally used, the poisonous sap being merely well washed out of it with 
water. This particular kind of cloth seems generally to be recorded from districts 
under some degree of Semang (Negrito) influence.” [I, page 375.] Fig. 26 shows a 
specimen of this cloth made by the Semang of Kedah with the club with which it 
was beaten out in the author’s presence. 


Malayan Bark-cloth. 65 


“According to De Morgan,°*> the Perak Sakai, when they wished to manufa@ure 
bark cloth, commenced by making incisions in the bark of a full-grown Ar/ocarpus, so 
as to mark out a broad band or strip of bark, the size of which varied according to the 
object for which it was required, an average size being from three to four metres by 
from sixty to eighty centimetres. 

“When the required strip had been thus marked out, the bark itself was ham- 
mered zz sz/w until it was loosened and detached from the trunk. ‘This strip was then 
taken and laid upon a tree-stump or anything else that might serve, and was then 
pounded with a wooden mallet, and (occasionally) decorated with designs in yellow 
paint (as among the Semang). 


FIG. 26. CLOTH FROM UPAS BARK. 


“The Sakai of Batang Padang (Mr. Wray informs me) employed mallets made 
of a piece of hard heavy wood about 13 in. (33 cm.) long, by 1% in. (37 mm.) in 
diameter. The side of the mallet with which the bark is beaten is grooved trans- 
versely, the grooves extending about half-way round the stick. [I, p. 384.] 

““T have seen the Semang of Kedah make cloth of Upas-bark by cutting down 
young saplings of the Upas tree (whose diameter was perhaps no more than 3 or 4 
inches). ‘These they ‘ring-harked’ a few feet from the root-end, and then loosened 
the bark zz sz/w by hammering it with a mere rounded (hardwood) cudgel, and then 
turning it back by hand in the way that a sleeve is rolled back, or a stocking taken 
off, the process being continued until all the bark on each sapling has been similarly 
treated. As soon as the last of the bark has been thus stripped off it is thoroughly 
washed to remove the poisonous sap contained in it, dried for a short while in the sun, 
and is then ready for use without any further preparation. [I, p. 380. | 


55 Morgan, J. De.—Mceurs, coutumes, et languages des Négritos de l’intérior de la presqu’ile Malaise, Bull. de 
la Société Norminde de Géographie, tome vii, 411. 
Memorrs B. P. B. Museum, VOL. IIT.—o. 


66 Ka Hana Kapa. 


“The loin-cloth of the Negritos, which constitutes their sole garment, is made 
(according to De Morgan) from the bark of a tree (Artocarpus). The material is 
thick, but supple and soft to the feel, and is occasionally painted yellow with the sap 
of a plant, the patterns consisting simply of broken lines (de lignes brisées). Of the 
method of manufacture we are elsewhere told that the bark is either rendered supple 
by being pounded between two stones, or by being beaten upon a tree-trunk with a 


strong wooden mallet or cudgel. 


FIG. 27. GROUP OF ABORIGINES, ULU BATU, SELANGORE. MCGREGOR. (SKEAT & BLAGDEN. ) 


‘Tn confirmation of the account given above of the Kedah Semang, I hear from 
Mr. Wray that the bark of the Axtiar’s was used by both the Semang of Perak and 
the Sakai as bark-cloth. It was prepared as follows: A young tree was felled and 
cut into pieces of suitable length. The outer portion of the bark was then shaved off 
with a knife and the inner bark was beaten with bat-shaped pieces of wood until it 
would slip off from the stem. ‘The bark was then put into running water, in which 
it was allowed to remain for the space of one month to free it of the poison; then it 
was beaten with wooden bats, on one face of which furrows had been cut at right 


In the Nicobar Islands. 67 


angles to each other, to produce a grain on the finished cloth. Ina recent communi- 
cation Mr. Wray writes me that these mallets employed by the Semang of Perak to 
beat out the bark and give it the grain (which it retains even after considerable wear) 
are made of hard palm-wood. ‘They are bat-shaped, with cylindrical handles, and 
have one surface of the blade of the bat scored with lines at right angles to each other, 
which leave projecting squares about a quarter of an inch across, divided by V-shaped 
grooves of the same width.” [I, p. 381.] 

“The methods used by the Blandas of Kuala Langat for manufa@uring their 
bark-cloth are similar to those of the Sakai, the bark of the Ar/ocarpus being detached 
and pounded in the same way. An interesting development of the wooden mallet 
used for pounding the cloth is, however, to be found among the Blandas, this mallet 
being furnished with transverse ridges or teeth cut into its under surface. ‘These 
teeth facilitate the process of separating the fibres, and render the material softer and 
more flexible. Asa rule the bark-cloth of the Blandas is quite undecorated, though 
when made from the bark of the Artocarpus it is stained by the sap of the tree to a 
sort of deep reddish tinge.” [I, p. 389.] 

In the old days when some ethnologists spoke of the Polynesians as ‘“Malayc- 
Polynesians” one of the props of this theory of relationship was the similar bark-cloth 
made by the Malays and their supposed derivatives. For this reason I have gone 
more fully into the process used on the Malay Peninsula than I should otherwise have 
done, as bark-cloth seems an almost universal product of tropical peoples, and surely 
there is no close connection with the true Polynesian kapa-making, but the whole 
work reminds one more of the making or rather stripping the lace-bark of Jamaica, 
and no one has suggested a strain of Malay blood in the West Indians. 

In the Nicobar Islands a rough cloth is made from the inner bark of a fig 
(Ficus brevicuspis) by the Shom Pen, a primitive Malay stock in the interior of Great 
Nicobar. Sheets of this bark-cloth are used as pillows and bed coverings, and among 
the hostile aborigines, it is said the women wear short petticoats of the material while 
the men go naked.** The Shom Pen brought several rolls of bark-cloth in pieces 
about 4 by 6 feet. (/bzd, p. 146.)*7 In common with the Andamanese (who are 
Negritos), clothing is of small account, and they were never impelled to beat the bark 
of trees to cover their nakedness. 

Beyond the Indian Ocean the making of bark-cloth has passed to the great 
African island Madagascar, and as a strain of the ““Malayo-Polynesian” race has here 


56Kloss, C. Boden. —In the Andamans and Nicobars. london, 1903, p. 219. 

57] have several specimens of the Shom*Pen cloth made from the bark of Ce/fis (species unknown), a tree of the 
elm family ((/rticace@); all are of the same brown color, and seem fairly strong; they were collected by E. H. Man, 
F. E. Tuson, in 1889, and Major R. C. Temple in 1895; all were sent to me by Prof. H. Balfour of Oxford. 


68 Ka Hana Kapa. 


made a home among the earlier inhabitants of the island, we should expect to find 
some trace of Polynesian customs, and in this we are not mistaken. In their burial 
customs the Hova have many points of contact with their brethren outre mer, nor 
this alone, but in other ways it is not necessary to mention here; the point of interest 
is,—did they make tapa? For a long time the people of Madagascar have had looms, 
rude indeed but capable of good results, and many of their /ambdas (a rectangular sheet 
worn somewhat in the manner of a Roman toga) show taste and good workmanship; 
they are also of considerable cost, from $25 to $50 each. With all their weaving they 
have not given up their bark-cloth, and I quote from the Rev. James Sibree, a well-known 
authority on Madagascar:—‘‘The bark-cloth just mentioned, as used for girdles 
| malo], is made by the people of the south-east coast and the forest tribes; but in this 
branch of handicraft the Malagasy cannot compete with the delicate fabrics prepared 
from the bark of trees by many of the Polynesian races. The bark-cloth of the Tai- 
moro, T'anala** and other tribes, is a coarse reddish-brown material, of little strength, 
except in the direction of the fibre; but its use, as well as the non-employment of 
skins for clothing, is one of the many links of connection between the Malagasy and 
the Malayo-Polynesian peoples, and serves (among many other peculiarities) to mark 
them off distinctly from the African tribes, who make such large use of the skins of 


animals as articles of dress.’ *? 


In Africa we reach perhaps the limit of our search for bark-cloth. Captain 
Richard F. Burton, whose travels made him familiar with so many people and their 
ways, tells us:—‘At Ujiji the people are observed, for the first time, to make exten- 
sive use of the macerated tree-bark...... This article, technically called ‘wdugw’, is 
made from the inner bark of various trees, especially the mzzmba and the mwale 
[Raphia]. The trunk of the full-grown tree is stripped of its integument twice or 
thrice, and is bound with plantain leaves till a finer growth is judged fit for manipula- 
tion. The bark is carefully removed, steeped in water, macerated, kneaded, and 
pounded with clubs and battens to the consistency of a coarse cotton. Palm-oil is then 
spirted upon it from the mouth and it acquires the colour of chamois leather. . . . They 
are fond of striping it with a black vegetable mud so as to resemble the spoils of 
leopards and wild cats...... Though durable, it is never washed.” °° 
We have a later and somewhat fuller account from Baganda: 


“Every man 
knows how to make bark cloths, and is expected to provide them for his wife and family, 
both for clothing and covering by night. The tree from which the bark is procured 


**T have in my collection a specimen of cloth from the Tanala district, thanks to Prof. H. Balfour of Oxford; 
the color is shown in Pl. AA, No. 11; the texture is fairly even, thick and strong, but rough to the touch. It seems 
to be made as well as specimens from New Guinea, or the Papuan region at large, 

°° Madagascar before the Conquest. London, 1896, p. 330. 

®Journ. Roy. Geog. Society, xxix, 222. 


Bark-cloth tn Central Africa. 69 


is a kind of fig which grows freely in every part of Uganda; the best kind, however, 
only grows in Sango, a part of Budu. The trees are at their best when about eight 
feet long in the trunk, and six inches in diameter. They bear one bark each year for 
six years, the third being the finest quality. 

‘““The outer bark is scraped off the tree trunk, and the inner one, which is about 
three-eighths of an inch thick, is removed in one long strip, and left to harden all 
the night; the tree trunk is wrapped round with plantain leaves and a new bark 
grows; in the morning after its removal from the tree the inner side of the bark is 
scraped and the bark beaten on a log, having a flat surface made on it, with a round 
mallet in shape like a stone mason’s, which has grooves running round it. The man 
goes over the bark three times using a different mallet each time in which the grooves 
are finer; after the third course of beating the bark is thin like a piece of coarse 
calico, all holes are patched, and the cloth is exposed to the sun by spreading it on the 
ground; the effect of the sun is to give the upper side a beautiful terra cotta tint 
whilst the under side is much lighter, almost yellow. [I have a specimen from Lake 
Mwero, British Central Africa, which I owe to the kindness of Professor Balfour of 
Oxford, which shows this variation of color.]| The bark-cloth is cut so that the two 
pieces, when stitched together, form a square of about six or seven feet. Sometimes 
patterns in black from clay found in the swamps, or from a preparation made from 


charred wood and oil, are painted on the cloths to make them more valuable.” 


Dr. Karl Weule, a recent traveler in central and eastern Africa, gives us some 
additional information as to the manufacture of tapa in the region east and north of 
Lake Tanganyika.®* It seems that the active implements in the rude manufacture 
are a long, sharp and pointed knife, which is carried unsheathed in the belt, and a 
wooden hammer not unlike the primitive stone hammer, and like that lashed into the 
loop of a split bambu with a cunningly twisted strip of tapa. The stone hammer is 
to be found in all collections of the implements of undeveloped man, and this chiefly 
differs in the presence of a flatter head grooved with parallel cuts. In the more mod- 
ern forms the handle is inserted into a hole in the head. It will be noticed that this 
is a marked departure from all the mallets we have seen hitherto. 

Dr. Weule is not particular as to the kind of bark used, but it probably was 
one of the figs commonly used in central Africa; and a stem of about the thickness 
of a man’s thigh is selected, and two circular cuts about ten feet apart are made 
through the bark and a longitudinal slit connecting these; the outer bark is then 
very carefully lifted by aid of the knife and wholly removed. ‘The bast or inner bark 


* Rey. J. Roscoe, Further Notes on the Manners and Customs of the Bagandas. Journ. Roy. Anthrop. Inst., 
1902, p. 78. 
Dr. Karl Weule Negerleben in Ostafrica. Zweite Auflage, Leipzig, 1909, p. 355. 


70 Ka Hana Kapa. 


is then loosened at one end, seized by both hands and stripped off. This bast is care- 
fully freed from any of the bark still adhering to it and soaked in water, after which 
it is folded into several layers and beaten on the smoothest portion of the stripped log 
until of a desired consistency when the soaking is renewed. 

Pictures are given of a young man performing these several operations, but 
they are on so small a scale that they are of little value as explanatory of the process; 
they show, however, what he does not state, that the work is done not by women but 
by men. The cloth is very cheap, and soft enough to be comfortable for the scant 
garments into which it is made, but is by no means so good or fine as the famous 
cloth made at Uganda. 

And this brings us to look for the “famous cloth”; perhaps no better authority 
on the Ugandan geography and natural history than Sir Harry Johnston” need be 
sought, and although, unfortunately, he tells us nothing of the manufacture, he gives us 
glimpses of the use of the fast vanishing cloth. Speaking of Uganda generally he says 
(p. 104): “The peasants, of course, when they are hard at work in the fields or making 
long journeys, will reduce their clothing to a tucked up bunch of bark-cloth covering 
the middle of their bodies between the knees and the armpits; but even the poor 
people, whenever they can, delight to cover themselves with loose sweeping garments 
made, if they are old-fashioned, out of the red-brown bark-cloth derived from a species 
of fig-tree. Since the country was opened up to the trade of the outer world, first by 
Arabs, and then by Europeans and Indians, it has been flooded with the white calico 
of England, India and America. There is scarcely any Muganda now so poor but 
that he can afford to wear a long trailing shirt of white cotton or linen, with long 
sleeves, and in addition a kind of rope of twisted white calico (like a halo) fastened 
round the head. Though it is considered the right thing in royal or aristocratic 
circles for the princesses or wives of the chiefs to wear bark-cloth rather than calico. 
The ‘royal’ bark-cloth is often covered with striking and tasteful designs, roughly 
stencilled on it with a black dye.” 


Again, speaking of the Banyoro, he said (p. 581): “They are of a naked people, 
but wear much the same amount of clothing as is worn in Uganda, though the dark- 
cloth manufactured is inferior in quality, and a much larger proportion of the people 
wear skins. Both skins and bark-cloth, however, are rapidly being replaced by the 
calico of India and America. It is, however, still the custom in Unyoro that a man 
and woman of whatever rank must, for at least four days after the marriage ceremony, 
wear native-made bark-cloths. In the north of Unyoro, however, especially amongst 
the Bachiope (Japalua), absolute nudity is the chara@eristic of both sexes.” 


°3Sir Harry Johnson, The Uganda Protectorate. London, 1902. 


Comparative Value of Polynesian Kapa. Ga 


Of the Bairo of Ankole he says (p. 607): “The Bairo used dressed skins or 
bark-cloth. However little they may have in the way of clothing, they generally so 
arrange it, as do the Baganda, to safeguard decency; whereas the men of their Bahima 
aristocracy, are more like the Masai, inasmuch as they rarely think it necessary to use 
their body coverings as fegumenta pudendorum.” 

It seems almost rash to discuss the comparative value of the kapa of the vari- 
ous Polynesian groups with so little material before us, either of actual specimens or 
the contributions of careful observers; and if there were any hope of greatly extending 
our survey, now or at any future time, it would be unwise to sum up the old-time work 
which is no longer in vogue. Of the kapa itself there is perhaps here or there a speci- 
men hidden in some private colleGion unnoticed; in museums some examples wrongly 
attributed; that is about all that remains outside. From the judgment of those who 
saw this primitive manufacture at its best on most of the Pacific groups, Hawaii and 
Tahiti certainly lead, and when we consider the material in hand, much of it brought 
home by Cook and the later explorers following in his wake, there can be little doubt 
that Hawaii leads in the variety and beauty of her design, while Tahiti seems to equal 
the northern group in fine quality of plain kapa. 

From the Marquesas we have only plain kapa, good and useful, but not re- 
markable. From Fiji we have excellent design well executed, but the quality of the 
cloth is usually second-rate. Tonga has many fine specimens both of cloth and of 
decoration. Niué was praised by some explorers for her work, but little of it has come 
into our collections, and the same is true of Mangaia, Rurutu and the southeast Pacific 
generally. Samoa seems to have been handicapped by the facility of production 
afforded by the wpefe, but the Samoans made finely ruled szafo, and also represented 
natural objects (Pls. 34, 23). 

I have from New Zealand a single specimen of Maori-made kapa which I greatly 
value, for we have seen that the aute has been extinct in New Zealand now many years. 
It is white, thin and fairly well beaten, quite suited to the use our authorities tell us 
it served. Another single specimen from Lifu of the Loyalty group, is also made 
from the paper-mulberry, beaten with hoopai™ beaters, and of tolerably even texture. 

The Melanesian, Papuan, Malayan and African kapa certainly belongs to 
another class, and was generally made from very different material. The workman- 
ship also is rude, often primitive; the dyes, where used (which was rarely), were not 
very skilfully applied and the decoration is largely symbolic and reminds one of the 
deerskin documents of the Amerind. Colors were few, although some of them seem 
very permanent, and it is not in evidence that the makers used carved stamps or type. 


64 Hoopai is described in the next chapter. 


N 


Ka Hana Kapa. 


“SI 


As we proceed we shall keep more strictly to the Polynesian industry, and 
especially the Hawaiian part of that, since it not only comprehends all the rest, 
except where we have already marked exceptions, but will probably be shown to be 
most complete in its technical armamentarium, and remarkably full in its artistic 
treatment. ‘The Hawaiians had a far greater variety of implements; and their colors 
have proved far more durable than those of Tahiti, for example; and the variety of 


coloring matter at command was far beyond that of any other group. 


en aE EE 
esx... — en OO 8 
— a ss ES 
ne ‘ 


Pints on - a ee — - 
a> See mimes nae 
— : a ae 
> RW ee 


ED ee oe EE BY 


a BR we 
PRP mee = 


: is sale a ames eam tt vet oot 
~ saga Ps = mens? ot 


PER MB Yi on A oem, so 


ee 


FIG. 28. SPECIMEN OF HAWAIIAN KAPA IN THE BRITISH MUSEUM. 


I believe that Hawaii was the /ons e/ orvzgo of the Polynesian kapa-making, if 
not the point of distribution of the southern tribes from Samoa to New Zealand. This 
latter proposition I am not fully prepared to argue at present, and it may suffice to 
claim Hawaii as not only the chief maker of bark-cloth, but the teacher of many of 
the other groups. At this point may we not leave the historical matter and turn to 
the actual implements and processes of the Hawaiians? We shall then be on more 


solid ground. 


FIG. 29. HAWAIIAN KAPA-MAKER AND HER ATTENDANT. 


From a group in the Bishop Museum; the figures cast from life and colored by Allen Hutchinson; 
the background from a sketch by Weber, Cook's artist. 


GHAPTER Wl; 
THE TOOLS USED IN MAKING KAPA. 


THE geographical distribution, the history, even the use of a process must yield 
in interest to a study of the mechanical devices used in that process by a primitive 
people. Early methods of doing what we all as human beings have to do are full of 
interest, and although the earliest used by man as he emerged from the non-tool-using 
condition are beyond our ken, those used by the kapa-making people within the memory 
of those now alive, give us a clew to the earlier methods. We find to the very end of 
the kapa-making age a primitive simplicity. Nothing is complicated; there is no 
modern loom weaving tapestries with mechanism working as if the human brain 
which created it were still active in its midst. Indeed, the peoples making kapa 
almost without exception had no looms, even the simple ones that others, cotempor- 
aries and equals in civilization, were using within their reach, almost within their 
sight. But while the tools were few and simple they still show ingenuity, adaptation 
and a development from simpler forms until the manufacture ceased with the acquisi- 
tion of cheaper and more durable fabrics from the outer world, and the tools were 
thrown aside to grow no more; useless save in the cabinets of museums devoted to the 
study of the past in the onward march of human mechanical development. 

While we wonder at and appreciate the mental exertions of the modern inventor, 
puzzling over the conversion of some circular motion to a reciprocal one, or the measure 
of power needed to actuate some more than usual delicate mechanism, we must not be 
blind to the toil expended, both mental and physical, by the primitive men whose brains, 
not yet developed by many generations of training, move slowly and painfully in the 
attempt to improve their tools, weapons or processes. Many years ago I was present 
at a meeting of the American Academy of Arts and Sciences when the Rumford 
Medal was given to the inventor of the Bigelow carpet loom, and I was deeply im- 
pressed with the account given of the history of this invention when it was stated 
that Mr. Bigelow rolled and writhed on the floor in the agony of search for a method 
of making metal do the work of human fingers driven by human brain. ‘The mental 
strain was great, but the child born of that labor was worth the pain, and I have some- 
times wondered why such a mechanical marvel is not (at least in part) brought into 
the curriculum of a nontechnical education to show the pupil how brain affects inani- 


mate matter to achieve such results. 
(74) 


Flawatian Scrapers. 75 


We honor inventors of new and useful tools or processes, and perhaps the 
Polynesian women appreciated those who made better tools for their kapa-making. 
Such improvements spread slowly, if at all, among the tribes, and we find a very few 
adopted over a wide range of territory; evidently the tool was thus far advanced before 
the dispersal of the tribes, if found far from home. ‘There are none of the Pacific 
groups that have not some peculiar modification of a tool, and no one of the kapa- 
making groups whose arsenal was so full or so well developed as the Hawaiian, and 
for this reason it has been chosen as the norm with which all others may be compared. 
Taking up the tools in the order of their use, we shall find the earlier ones needed in 
the process, such as cutters for the twigs, or scrapers for the outer bark, show least 


FIG. 30. HAWAIIAN SHELL AND BONE SCRAPERS. 


variation throughout the kapa-making world. The stone adzes used for cutting the 
twigs were, it is true, used for so many more important works that their development 
had little to do with the present industry and they may be set aside.** The cutter to 
split the tube of bark longitudinally was almost universally a shell, for which many 
bivalves were adapted, and a shell it was (although usually of a thicker and firmer 
substance) that served as scraper to remove the outer bark from the fibrous portion 
before the beating began. In the Pacific the form varied little, and the Meleagrina was 
the favorite shell, although the Fijians used the Triton. On the Hawaiian group the 
tough bone of the carapace plates of the sea-turtle (Che/onza virgata) was used in 
common with the other, and it was more abundant, tougher and more easily worked; 
both are shown in the illustration, Fig. 30. As sea shells of the kinds used have out- 
lines more or less curved, the first improvement was to grind an edge flat; then came 


3? This tool has been fully described in a former Memoir of this Museum on Hawaiian Stone Implements, 


76 Ka Hana Kapa. 


a sharpening (the original edge was sharp enough, but the new edge attained needed 
a bevel, and probably it was soon found that one angle was better than another); then 
came the rectangular form; and the last improvement that has 
been noticed was the addition of a strip of wood or fibre to the 
nearer edge to protect the hand of the operator. All this grind- 
ing and sharpening was a slow process, prolonged rubbing on a 
suitable stone surface, usually a block of phonolite. 

I have not been able to learn which, shell or bone, was pre- 
ferred by the native workman, but as the scrapers in considerable 
number preserved in this Museum are about equally divided, there 
was probably no marked preference. 

The anvil for these scrapers was, like the stone adz used in 
cutting the twigs, a tool by no means peculiar to the kapa-making. 
Primarily it was used for scraping olona ( 7ouchardza latiyolia),a 
fibrous plant from which were spun the durable and much prized 
cords used for the best fishing lines and nets, and exclusively for 


the finer nets to which were attached the feathers of the Hawaiian 


feather cloaks. From this use the long smooth strips of wood 
shown in Fig. 31 were called /aau kahit oloné, wood on which olona 
is scraped; like so many of the primitive implements they had to 
serve various uses, and they never became specialized for the kapa- 
makers. ‘Their length varied from 65 to 89 inches, their width 


from 2.5 to ro inches. Only the upper face, which was slightly 


curved on its longitudinal axis, was finished to a smooth surface 
which use tended to keep fairly polished. It was usually wider at 
the base than at the distal end where the sides were sharply con- 
tracted for the attachment of a hank of fibre which was caught on 
the sharp point. The use of this board in the olona manufacture 
has been figured in Pl. XV of Vol. II of these Memoirs: when 
serving for the decortication of waoke, mamaki or other bark in 
kapa-making, the position was varied to suit the length of bark. 

Although the Hawaiians were not used to decorate, as did 
their kinsmen the Maori of New Zealand, their common tools, 
there are in this Museum some (as Nos. 735 and 739) showing 


slight ornamentation in the way of regular notches on the under 


. . FIG. 31. LAAU KAHI 
edge. Such decorated laau kahi olona were rare and belonged to GROne: 


the higher chiefs. Other peculiarities noticed are great width at the base, and a more 
than usual convex surface (No. 9413 is 7.5 inches wide at base, and 89 inches long, and 


Anvils for Kapa-beating. 77 


has a curvature of 8 inches radius; No. 7593 is 73 inches long, 9.7 inches wide at base, 
5.7 at top, and has a radius of 145 inches), anda hole, round or square, at the smaller end 
for hanging on a peg or hook, or, it may be, for attaching the hank of fibrous material. 
Of course, hard, tough woods were essential, such as ohia (Metroszderos polymorpha), 
kauila (A/phitonia excelsa), or uhiuhi (Cesalpinia kauatensis). 
The fibre, from whatever source, freed from its outer bark and well soaked 
(in running water by preference), was now to be beaten or felted, and with this pro- 
cess we take up tools peculiar to kapa-making. The earliest beaters used by a primi- 
tive people were simply round clubs such as are still used for the purpose by people 
who have not advanced far in this manufacture, as the blacks in central Africa. 
A modified and improved form of this rude beater was used by the Hawaiians for the 


FIG. 32. KUA KUKU AND PAPA HOLE KUA ULA. 


first beating of the fibre; sometimes a round club (No. 385), but generally grooved 
longitudinally (Nos. 367 and 372), and in all cases cut down at one end for a more 
convenient handle, and called hohoa. ‘These three are shown in Plate 1, and it will 
be noticed that one (372) is polyhedral, the others are round; they are represented 
about half size. The round was found better for separating the close fibre than the 
flat form used later in the manufacture. We have seen that other than Polynesians 
often with such round clubs beat the bark loose from the tree stems, as can easily be 
done in the case of some of the genus /7zcus. 

The Hawaiian, however, used an independent anvil made in a definite and little 
varying form after the primitive log had been discarded for something more convenient 
or efficient. I would not claim that the transition was immediate from the stem of a 
tree, or a rude log, to the complete anvil here figured. Doubtless there were many 
and various forms intervening, but the anvils in use at the time of the discontinuance 
of kapa-making were of this definite form, and none of the primitive ones had survived 
so far as known. It is noteworthy that the people of the other groups still held to 
the rectangular log, often (as in Tahiti) of considerable length, and so far as the ac- 


78 Ka Hana Kapa. 


counts of travellers or the collections in museums show us used no form so specialized 
as that on the Hawaiian group. Of those in this Museum the general dimensions and 


material are given in the following table: 


Na Kua Kuxvu. ANVILS ON WHICH KAPA IS BEATEN. 


MivecumWo,. ‘Gengi: Height, widen. = walk, 
710 59-5in. 4 2.7 S 
711 68.5 We . 5-7. Old and in good condition. 
712 70.7 6 on7 5 Heavy dark wood. 
713 61 isi) a 6 
715 aa 6.7 ay | 6.2 Kolea wood. 
117 71-5 4.7 4 4.7 
(Bete &: 4-7 4.2 4.2 
719 7° 5 4.2 5:1 
ZOE NEES ST ie aS 7-7 . 
721 65.5 4 4.2 4.5 Kawau wood. (Byronia sandwicensts. ) 
722 68.5 6.7 3.2 5:7. Shown in Fig. 32. 
723 8662. 3:5 3:7 4-7 
724 68.7 4.5 5 5 
726 59.2 3-5 2.5 4.2 
727 GA.2 B57, eA 455 
6688 70.4 5-2 3.5 4.7 
6689 605 5:5 4 5 
6690 66.5 any 2:5 5 
9409 75 a2 5 5 Kawau wood? Deverill coll. 
9693 63.7 6.2 2.7 a Dracaena aurea ? 


In use these /aau kuz kapa or kua kapa were supported on two stones. The under 
side was excavated longitudinally and the ends were bevelled as shown in Fig. 32. 
Supported thus these logs were quite resonant, and the old Hawaiians had a use for 
this beyond the titillation of the ear. The blows of the beater on this anvil could be 
heard at a considerable distance and were not unpleasing, damped as they were by the 
moist fibre between the opposed surfaces. Talking by means of a well understood 
code of signals (a sort of Morse alphabet), the old ladies beating kapa could dissemi- 
nate the latest gossip telephonically through a long valley, and I have found the news 
of my coming had passed through the air long before I came in sight of a party of 
kapa-makers, as I rode up a valley trail. I was assured that when everyone was 
making kapa (usually during the forenoon) a message could be, and often was sent 
around an island by frequent relays. The signals used are now forgotten, but if my 
memory does not fail me, ao/e (no) was one blow, ae (yes) was two. The vocabulary 


Form of the Mallets. 79 


needed for primitive messages was scanty and its translation by a combination of blows 
and pauses of varying length was simple. 

But all this telephony was done not with the hohoa but with the za or ze kuku, 
a mallet differing from the former by having a section square instead of circular, and 
also in its most developed form having the four sides cut or carved with various devices. 
So, too, was the kapa beating done mainly with these ie kuku, and we shall find among 
them many fine specimens of carving done (let us bear in'mind with a shark’s tooth 
set in a wood or bone handle, or with a splinter of sharp stone), most of them, not 
necessarily any better for the work of beating, but merely fanciful designs for giving 
a “water-mark” to the product of a single maker, family or village; some seem to be 


F 


FIG. 33. FORMS OF PEPEHI. 


confined to the island of Kauai, that rather odd member of the Hawaiian group. Of all 
these forms only two can be claimed as especially adapted to their use,—the finely 
ruled parallel lines oopaz, and the smooth, uncarved surface mo/e, the first best fitted 
to continue the work of the hohoa, the latter to produce the smooth surface fitted for 
very thin kapa, or a kapa to be printed. 

While the Aoofaz is by far the most common, and almost always found on at 
least one side of a beater, the fefehz (=to beat hard) comes next and is used in the 
same way for disintegrating the bundles of fibre. The difference is in the size of the 
ridges separating the grooves and also in their shape, the former being sharp-angled, 
the latter rounded; in other words, the first has ridges resembling an inverted A, the 
second has them like an inverted N. In size of ridges and spacing they vary greatly 
as may be seen in the illustrations. Often they are alternate with the oopaz, and 
when there are more than fourteen ridges on an average side the pepeht becomes hoopatr. 


80 Ka Hana Kapa. 


I have a photograph of a beater in the British Museum, apparently from the Society 
Islands, with the ridges not only rounded in transverse section, but neatly rounded 
to a point at the distal end. I am inclined to consider the fefehz the older form; it 
would be easier to make, and is found commonly on the beaters of other groups where 
the art had not reached the level of the Hawaiian. In the oldest the ridges are flat 
and rather wide, and there are seldom more than five on a side of the beater. Later 
the ridges became rounded and closer together until they could no longer be finished 
with a round top and were of the shape of, and, in fact were Aoopaz. In Fig. 31 may 


be seen several degrees of the Aepehz form, while one of the finest specimens of the 


if 
145 
Sidi: 


i «A D 
Pr, 


€ 
é 
‘ 
2 
c 
5 


PIE ae Se en  - ane 


241 199 203 255 189 8673 
FIG. 34. FORMS OF IE KUKU. 


hoopat is shown in Fig. 34, No. 6. It will be remembered that all the markings on 
the preliminary beaters or hohoa were of the hoopaz form, but generally coarser and 
deeper cut than in the specimen of beater just referred to. We will now turn to the 
less common and more elaborate designs. 

All these had some significance, as shown in their names: thus socau seems to 
come from oe, an earth-worm, and aw signifying motion, Fig. 34, No. 5. This name 
applies when the undulating ridges are parallel, but when they are not so, but arranged 
as in Fig. 35, Nos. 9 and 10, the name is puz/7—=a twining. The two are often com- 
bined in various ways as seen in Fig. 34, No. 2, and there is one specimen in this 
Museum (No. 205) where the two patterns alternate in sections a little more than an 
inch wide down the face of the beater. We will presently come to other modifications 
applying to all the patterns already mentioned, but we will first note the few other 


Mee eR CUS RKC 


TERK CEKE ER EK KS 


188 


189 


203 199 
FORMS OF IE KUKU. 


241 


191 


FIG." 35. 


255 


2945 


209 


210 


241 


199) 


FIG. 36. FORMS OF IE KUKU. 


Menmorrs B. P. B. Museum, Vou. III.—i, 


> 
Sa 
e 
Ne) 
9 
Sr 
fSsic OD 
a a 
= 
B 
i>) 
=| 
SSS =| P| 
= 9 se LH 
DZ LAZZZZZZZ7“797y79])| ; a 
SSS SS SSS SES SSS i pet ; 
OE EEEEZZ=™EZ RO a ES NEN 
SSSSSSS SS SioHiio0o ° ENN ON 
split, eat TAM Soy sceety We ; BS SSS NA 
ENN ENA AN NN 
: ENENERON EN 
5 LESS oN 
9 SNS ~ 
i WX Sa 
N g 
ile) 
Ue 
wo 
Nn 


209 


205 


2930 


2923 


FORMS OF IE KUKU. 


FIG. 38. 


240 


Names of the Te Kuku. = 83 


independent forms. The zwzpuwhz = back-bone of an eel, Fig. 37, No. 23; the dauwma’u 
= pinnate leaf of a fern, and is hardly to be distinguished from /aunzu = coconut leaf; 
the £apuat koloa is supposed to resemble the track of a duck, Fig. 35, No. 12. AHalua 
lethala was supposed to represent the favorite necklace of the ripe fruits of the Pan- 
danus, Fig. 38, No. 26. Other less common forms will be found in the supplemen- 
tary list of Hawaiian names of patterns given below. 


224 9375 2846 284 2926 200 10077 


FIG. 39. FORMS OF IE KUKU. 


To return to the modifications of the principal patterns: the mo/e, when marked 
by parallel, longitudinal lines (not deep enough to be fefehz, nor close enough to be 
hoopat) becomes mole halua, Fig. 36, No. 15; the same name applies if the lines are 
transverse; if the parallel lines are in two series crossing each other at less than a 
right angle the pattern becomes mole halua maka upena, or simple maka upena (meshes 
of a net) Fig. 38, No. 27. If any of these patterns, or the plain mo/e, have on their flat 
surfaces round holes the term pupu is added, Fig. 39, No. 33, Fig. 37, No. 22. If the 
indentations are triangular they become xzho mano (shark’s teeth), Fig. 36, Nos. 13 
and 14; if rectangular, then wzho /rzli7 (little teeth), Fig. 38, No. 31. So hoopaz 
crossed by lines at a right angle becomes hoopaz halua,; but when the crossing lines 
are at other angles it becomes hoopai pawehe, or halua pawehe, a term conveying some- 


84 Ka Hana Kapa. 


what the meaning of fanciful. All these variations apply as well to fefehz. The pat- 
terns soeau and puzlz often have the curved or zigzag lines separated by one or more 
straight lines; when one the term /a/wa is added (Nos. 1, 7 and 8 of the series); when 
more, it is hal/wa pawehe, Nos.3 and 4. The stripe often includes two of the zigzags, as 
No. 3, and sometimes a number of stripes or a/was separate whole groups, as in No. 2. 


A List oF PATTERNS ON THE IE KuKU. 


The numbers refer to the series; if above 39, to the number on the plate. 


Aha or Ahaana= Kapuai koloa, 12. Laukoa= Lauma’u, 24, 29, 32. 
Ehe hoopii= Koeau, 5. Lauma’u, 24, 29, 32. 
Haao = Koeau halua, 3. Mole, 25. 

as 


Halua leihala, 26. 
““ koeau, better Koeau halua, 3. halua leihala, 26. 
manama (branching) = Maka halua pupu, 16. 
upena, 27. halua maka upena, 27. 
pawehe, 28. halua maka upena pupu, 22. 


halua, 15, 


i 


““ puili, better Puili halua, 1, 4, 7, Ve pttpie3 3: 
8, Ii. Nanauahuki= Koeau halua. 

‘¢  pupu = Mole halua pupu, 16, 22. Niho hiilii, 31. 
Hoopai, 6. Oholupalupa, an angular puili, 1, 8. 

“  halisa: Painiu = Lauma’u. 

a) pitas Papa konane, 16, 17. 
Huelopoki = Iwipuhi, 23. Pawehe, 2, 18, 28, 30, 32. 
Iwipuhi, 23. Pepehi, Fig. 33. 


Kalukalu= Koeau (perhaps because this ‘halle: 


form is used for thin kapa). halua maka upena, 19. 
Kapuai koloa, 12. Puli, 700.20. 
Koeau, 5. eo  (ellrar yay Gener alan 

*) Halwa, 5. pawehe, 2, 32. 


ac 


a 


““ pawehe, 2, 3, 4. Pukapuka= Mole pupu, 33. 
Konane = Papa konane, 16, 17. Uahaao = Halua pawehe. 
Laau niu. Waieli or Waiali= Puili. 


The proportion in which the more common forms occur in the collections of this 
Museum (including under the principal name all modifications) is as follows:—Whole 
number of sides, 1360. Hoopai, 497; Pepehi, 416; Puili,53; Koeau, 48; all others 346. 


Cutting the Patterns.—The process of cutting the designs on the ze huku 
I have never seen, nor do I know certainly whether there were craftsmen whose 
especial work was in this line, although this is not improbable when we consider the 
specialization of work of this sort on the Polynesian islands. I believe such manu- 


Flow the le Kuku Were Carved. 85 


facture had already ceased when I first came to this group, and so great was the supply 
on hand that it fully sufficed for the needs of the rapidly disappearing industry. We 
have, however, certain specimens in this Museum partly made, or altered from an 
earlier pattern. These are shown in Fig. 43, and to this is referred the following 
description. The side of the ze £uv&u to be carved was first smoothed by polishing stones 
until a dead flat surface was obtained, the mo/e (abbreviated from omolemole = smooth). 
If the pattern desired was the most useful and common hoopaz ( paza line and hoo the 
causative prefix), a straight edge made of a split bambu was held securely in place 


FIG. 40. CUTTER WITH HUMAN BONE HANDLE. 


while a V-shaped groove was cut by a sharp splinter of clinkstone, or more commonly 
in later times by a shark’s tooth set in a suitable handle. Examples of these are 
shown in Fig. 41, from models in this Museum carefully copied from originals in 
other colleG@ions. The various forms are well suited to hard wood carving, and are 
much more efficient than their rude form would promise. It would seem that the 
workman must have used some sort of gauge, so regular are the lines; in specimen 
8673, each of the four faces measures 2.5 inches, and has fifty grooves or twenty to 
the inch: a good modern mechanic could hardly surpass this without machinery. 


®A curious example of one of these cutters, a shark’s tooth set in the end of a human clavicle, has been given 
on page 177 of the last volume of Memoirs, and is here reprinted in Fig. 4o. 


86 Ka Hana Kapa. 


The form fepeht was probably cut in the same way, but the wider spacing and the 
rounded ridges required stone filing rather than cutting. The hoopaz or pepehi on 
the ohoa could be ruled in the same way owing to the flexibility of the bambu 
straight edge: the grooves are usually deep and the ridges sharp. In some of the 


FIG. 4I. HAWAIIAN CARVING TOOLS. 


ntho mano patterns (as on beater No. 2845, Plate II) the stone chisels seem to have 
been used, but it would be quite possible to cut this face with only the cutters described. 

In the cutters there are several points to notice: 
the knobs on the middle figure are capital to steady the 
pressure of the grip, as I have found in experimenting 
with the tool; the lower tool has four teeth so that the 
worker may vary the angle of his cut, the teeth are of 
the common trianglar form with finely serrate edges; 
the cords by which the teeth are firmly attached to the 


handle are of the durable olona. To these examples 

I may add one in the British Museum which differs from 
. A FIG. 42. CUTTER IN BRITISH MUSEUM. 

the others in the way of using; the bowl of the tobacco- 

pipe-shaped handle is the real handle which the worker firmly grasps, while the stem 


serves to keep the tooth “edge on”, This tool is shown in Fig. 42. It isa much more 


Carving the Faces. 87 


practical tool than its odd outline would suggest, and from the number extant it would 
seem the most popular among the Hawaiian carvers. 

It remains to be said that the pwpw was usually made with the pump-drill, a 
tool universally known through the Pacific; rougher specimens of these shallow holes 
were made with the very useful tooth. 


10077 364 247 3100 9376 9374 9996 
FIG. 43. PARTLY CARVED AND UNUSUAL FORMS OF IE KUKU. 


When we come to the more elaborate patterns, kocau, puzlz, etc., which, so far 
as I know, are distinctly Hawaiian, we see that the pattern was carefully marked 
from the handle end in parallel lines at intervals to suit the figures to be carved: 
Fig. 43, Nos. 1 and 2, will make this clearer. In No. 1, the workman evidently 
planned for a koeau with one hal/uwa, and he began, apparently at random, near the 
middle of the skeleton plan, but before cutting far he concluded that a shorter face 
would be better, and began again. Not being a first-class workman he suffered his 
zigzags to become irregular, and so in places made the pattern fwz/z, returning gen- 


. 


88 Ka Hana Kapa. 


erally to the koeau. In No. 2 there were two Aa/wa formed first and finished as in a 
moderately coarse hoopaz, leaving rather narrow spaces for the “‘worms”’, two of which 
have been started. In No. 4 the spaces were but little wider and the hal/wa were 
omitted, and we can see that one edge of the zigzag was cut first, leaving a serrated 
strip, and then the alternate strips were first finished. In No. 3 a different procedure 
was adopted and the zigzag was finished on both sides, forming a regular puz/z,; this 
might have been made by drilling the shallow holes of the Auf in the proper places 
and then finishing, as seems more apparent in No. 3, of Fig. 43. The cleanest cutting 
is shown in No. 5; and the way in which the oeaw was converted into puz/z and 
returned to the original pattern (from the regularity of the triangle of alteration 
evidently intentional) is well shown in No. 7. 


List oF Iz KuxKu IN THE BISHOP MUSEUM. 


The sides are described in order, beginning with the side directly beneath the number stamped on the end. On each 
side the longest face length is given. The material is kauila wood, unless mentioned. Measurements are in 
inches; weights in ounces. 


Museum 
No. Length. Face. Weight. 


188 16.6 8.6x2.1 31 Kapuai koloa; iwi puhi; hoopai 37; hoopai 37. Koaia wood. 


189 15.9 7-8x2.4 43.5 Puili halua; koeau; hoopai 50; hoopai 41. 

190 §613..6 7 Seco 8 Puili; koeau; hoopai 23; hoopai halua 21. 

TOR, U5e7 7 x2 26.5 Lauma’u; koeau halua; puili; puili halua. 

192 17 7-7X1.6 19.5 Puili halua pawehe; koeau; hoopai 21; hoopai 24. 

193 15.2 7X22 2 Koeau halua; puili; koeau; haao. 

195, 146 8 x1.4 14.5 Puili koeau, lauma’u; haao; hoopai 24; hoopai 19. 

196 12.9 6.519) 2 Koeau; hoopai 35; hoopai 33; puili. 

TGs 555 7-2x1.5 16.5 Puili halua; puili halua; upena halua niho mano; koeau. 
199 14.7 7 TRON Seen) Halua niho mano; puili koeau pawehe; puili; puili halua. 
200" “15.0 6.5x1.6 20.5 Halua puili; halua puili; koeau; halua puili. 

20% 95.5 Sosa rs Hoopai 19; hoopai 21; hoopai 19; puili halua. 

202 15.2 Ge5xr-5 | to Tauma’u; koeau; koeau halua; puili. 

203 «15.2 7.5X2 32 Koeau halua 2; koeau halua 2; hoopai 30; puili. 

204 14.8 S5eL7) 24 Puili pawehe; hoopai 17; puili pawehe; puili halua. 

BOS) ITs 6.4x2 29.5 Lauma’u puili pawehe; puili halua; kapuai koloa; iwipuhi. 
206 14.6 8.5x2 30 Hoopai 43; hoopai 28; hoopai 41; hoopai 23. 

207. 14.9 8.7x1.8 20 Halua upena; pepehi 10; pepehi 7; hoopai 30. 

208 =15.6 ey Sage). 9 Halua upena; hoopai 23; hoopai 31; hoopai 33. Nioi wood. 
209. «15 8 x1.9 18.5 Halua upena; [_|; pepehi13; pepehi6. Alani wood. 

210. «15 S-5ar.on |S Halua pupu; pepehi6; hoopai 17; hoopai 26. Alani wood. 
211 14.6 S.5xra5 P16 Mole upena; pepehi 7; pep€hi1o; mole halua. Koaia wood. 
2125) 426 eT RTO.) 20 Pepehi halua 10; pepehi7 ; mole halua; halua upena. 

23. n5.4 SOeorec2a 30 Hoopai 50; hoopai 47; hoopai 45; hoopai 45. 

214 15.4 Sexe 29 Mole upena pupu; halua upena; pepehi 12; pepehi ro. 

205y ogtASs 8 xI.5 16.5 Koeau; hoopai 23; hoopai24; puili pawehe. Koaia wood. 
216 = 14.5 S.5x1.6) S19 Hoopai halua 15; pepehi 10; hoopai 27; pepehi 6. 

AGP a8 8.2KI.4 15 Mole pupu; mole pupu; pepehi 5; pepehi 6. Koaia wood. 
218) 15.5 OUT a7, Halua pupu; pepehii1; pepehi 7; pepehi 6. 


List of Beaters tn Bishop Museum. 89 
Mus.No. Length. Face. Weight. 
AM) 1) Wt Sits 14.5 Halua upena niho mano; pepehi12; hoopaihalua 19; hoopai 23. 
DRY Bai 7.5X1. 21 Puili (oholapalapa); hoopai 26; hoopai 23; hoopai 25. 
OO TSS 5 FaspSibe 17-5 Lauma’u; koeau halua pawehe; puili; koeau. 


22 mL OF? @) Sit. 23 Pepehi 9; hoopai 20; hoopai 31; hoopai 37. 
21.5 Upena halua pupu; pepehi 13; pepehig; pepehi 6. 


13 Halua leihala; mole pupu; hoopai 26; upena pupu. 


2225.0 Sa/esin 
224 15.2 9.5X1. 


4 
7 
4 
6 
6 
2 
15 WaPo Hoopai halua 29; hoopai 26; hoopai 26; hoopai 26. 
227s BsGeit os G7 Kapuai koloa; hoopai 27; hoopai 27; hoopai halua 18. 
229 8615.4 eee) Ds Upena halua pupu; hoopairg; pepehi halua 12; pepehi 13. 
DZ) Tal 8 x1.7 23.5 Upena pupu; upena pupu; upena pupu; upena halua pupu. 
AgQh WG a2 8 Ssiietl 1© Pepehi halua 12; halua upena; mole; pepehi 9. 
232 «15 8 x1.8 25.5 Mole halua; hoopai 30; pepehi 11; pepehi 8. 
233 14.6 G7 - Bo) Mole halua; pepehi 7; hoopai1s5; pepehi 8. 
2230 Se 5 Saxon lS Mole halua; hoopai 16; pepehi 11; pepehi 9g. 
Bev T/A Weppsids — ut} Koeau halua; hoopai 1g; puili; pepehi 8. 
DA Wj BOs Di Pepehi 10; pepehi 9; pepehi 7; pepehi 8. 
DA Toit Fegpsidd Bit Iwipuhi; hoopai 32; hoopai 25; hoopai 16. 
2 AGS Gf SD 2 Mole halua; pepehi 10; pepehig; hoopai 17. 
DAS UB 7.3X1.5 14.5 Lauma’u; koeau halua; puili halua; koeau. 
230m Lon, 8.7x2 30.5 Mole halua; pepehi 10; pepehi 7; pepehi 7. 
240 16.8 g.5X1. 19 Halua pawehi pupu; halua upena pupu; halua upena; hoopai 30. 
aa a Grasaie 7 Haao; halua niho mano; halua puili; puill. 
BA, ets Sueecie 21 Hoopai 26; hoopai 27; hoopai 35; hoopai 33. 


18 Pepehi halua 10; pepehi 8; hoopai 17; mole. Koaia wood. 
Pepehi halua 11; pepehi15; pepehi 14; pepehi ro. 
14.5 Koeau halua; koeau; hoopai 20; hoopai 26. 


243 14.9 ay Soles 
2AAL Sii/«2 g.8xI 
245 13.6 posal 


bornktokaaad 
ios} 
fe) 


DAG. | 3 7.5X1 12 Puili; hoopai halua 15; hoopai 14; hoopai 22. 

DIO) i EOxae 26 Hoopai 34; hoopai 37; hoopai 30; hoopai 27. 

2 el ARe 8.2xI 13 Pepehi 4; hoopai 20; pepehi 3; hoopai 2r. 

DEA il 7.5X2 29 Mole halua; pepehig; pepehig; pepehi 13. Nioi wood. 

Disa TtSc(6) 7 X1I.2 12.5 Koeau pawehe; hoopai 17; hoopai 14; puili halua. 

254 15.2 Saxw5 we) Upena halua niho mano; puili halua; puili; koeau. 

mS) g.2x2 36 Halua maka upena; koeau pawehe 3; hoopai 53; hoopai 45. 


Koaia wood. 
256 15.5 Signe AC) Pepehi halua 9; hoopai 24; hoopai 29; hoopai 26. 
257 15.4 6.7x1.9 26.5 Haao; halua niho mano; puili; puili halua. 
9 2 


258 16.1 Ge 35a; I Halua upena niho mano; puili halua; puili halua; puili halua 
pawehe. 

AE) 1 Bak 6.7x2 27 Mole halua; mole halua; pepehi 7; pepehi 9. 

260 «14.5 perciegy — ins} Puili halua; hoopai 15; hoopai 20; hoopai 17. - 

2 OleRL OZ SPAN) Dy Halua upena; mole halua; pepehi 10; pepehi 11. 

262 14.6 7.2x1.8 24.5 Mole upena pupu; pepehi 11; hoopai 24; pepehi rr. 

AS 7 9 x2.2 43.5 Mole halua; pepehi 11; pepehi12; pepehi 18. 

264 14.5 6 Ses Pepehi halua 10; mole; pepehi 5; pepehi 7. 

AS 1i(6) 8.7x1.9 30.5 Puili halua pawehe; hoopai 22; hoopai 22; puili. 

266 17 8.2x2 32 Mole halua; pepehi 7; pepehi 7; pepehi 9. 

20m Aa7, Heypeits: D5 Hoopai halua; hoopai 18; hoopai 32; hoopai 30. 

268 15.8 Arey, Bit Hoopai 15; pepehi 10; pepehi 9; upena halua. 

269 14.6 Gojpsita|  ) Hoopai 24; iwipuhi; puili; hoopai 20. 

270 «=—«14.4 Segal al | ing Mole; pepehi 7; pepehi 10; mole halua upena. 


go Ka Hana Kapa. 


Mus. No. Length. Face. Weight. 
Afi | ila aspen ne) Hoopai 17; hoopai 13; hoopai 21; hoopai 19. 
272 TSO 5.516") 922 Mole upena pupu; pepehi 9; pepehi 9; mole halua. 
273i aes 8551-8 28 Pepehi 10; pepehi 10; hoopai 21; mole halua. 
274 15.6 9 x1.5 18.5 Halua upena; halua upena niho mano; hoopai 13; pepehi 4. 
PAGS = SETAC) 9.5XI.3. 15.5 Koeau; pepehig; pepehi rr; puili halua. 
Pygkoy 05) 7 7ST eae Hoopai 20; koeau; pepehi 8; puili. 
279 «13.7 [ees] 2S Pepehi 5; hoopai 19; mole upena; hoopai halua 15. 
280 15.2 Sexton 26 Puili; hoopai 30; hoopai 34; hoopai 37. 
282. 14.8 8 x1.8 26.5 Upena pupu; upena pupu; halua upena; upena pupu. 
283 14.6 8.5x2 27 Mole halua |_|; hoopai 24; mole upena; mole upena. 
284 14.7 75 xeO) 25) Upena pupu; halua pupu |_|; halua upena pupu; upena pupu. 
285 14 7.2x1.7. 21.5 Mole upenapupu; mole upena pupu; hoopai halua 16; hoopai 16. 
286: se 7.7x1.8 26.5 Upena halua pupu; mole upena pupu; pepehi 5; pepehi 8. 
2875 | at4e5 Sessa 5 Puili; hoopai 19; hoopai 22; pepehi 13. 
288 14.5 6.10.6 8 Puili; puili halua; koeau; puili halua. 
289 »=-:14..5 (peek au! Iwipuhi; hoopai halua 20; hoopai 22; puili. 
20 ak5el O) x46 Pepehi 8; hoopai 17; mole halua; pepehi 8. 
202) 5 opgiteiy tle) Pepehi 4; hoopai 24; pepehi 5; pepehi 8. 
383. 7 5.1 Sr5 0 Omg Hoopai pawehe 16; hoopai 22; hoopai 26; hoopai 27. 
336 = 14 F7SeO) Aes Pepehi 10; mole halua; pepehi 15; pepehi 7. 
B37) 05:5 8) x07 2: Pepehi 12; hoopai 23; hoopai 20; pepehi 12. 
389) «1355 7-5x1.6 18.5 Puili halua; hoopai 27; hoopai 21; pepehi 12. 
BAO), p55 7.7X1.7. 18.5 Pepehi5; mole halua; pepehi 9; pepehi 8. 
340 52 S.7X0.9 32 Upena halua pupu; hoopai 46; hoopai 48; hoopai 27. Koaia wood. 
342 16 SSO 20 Mole upena pupu; mole; mole upena pupu; mole upena pupu. 
Koaia wood. 
Base) wale Sear ay Upena halua; hoopai 20; hoopai 22; hoopai 25. Koaia wood. 
344 15.5 8 x1.6 23.5 Hoopai 25; hoopai 26; hoopai 25; hoopai 26. 
BME, 0s 8.6x1.4 16 Hoopai halua 15; hoopai upena 15; pepehi 10; pepehi ro. 
347. 14.9 Tye ouarp ei) Pepehi 11; pepehi 8; upena pupu; hoopai 17. 
348 15.4 8.2x1.6 20 Puili halua; hoopai 30; hoopai 27; puili halua pawehe. 


349 © ©16.5 Si 7 0-0) 22 Pepehi 7; pepehi5; halua upena; pepehi rr. 

Risen PAG 7 20 Pepehi halua 12; hoopai 27; mole halua; pepehi 9. 

B50. 4a S.2eI2 3 Pepehi halua 8; mole halua; mole; halua upena. 

g52) Take Tospse HG Pepehi 10; pepehi 14; hoopai 20; hoopai 19. 

S5e) D455 8.5x1.8 23.5 Hoopai 28; hoopai; 30; hoopai 35; hoopai 18. 

354 16 o.5 0-0) eo Hoopai 25; hoopai 28; hoopai 30; hoopai 29. 

355) 14.2 Tasesiiai Akg Upena halua pupu; upena halua; pepehi 8; pepehi 13. 
B50.) 14.7 So ey) LO Pepehi halua; hoopai 25; hoopai 21; pepehi halua. 

357) 16 G) Rag ue Halua pupu; pepehi 6; halua pupu; mole halua. 

358 14 Fpeisseiiy) 2 Halua puili; puili 5; hoopai 23; pepehi 4. 

250 14.7 Feypay 8 Hoopai 16; hoopai 21; hoopai 25; hoopai 24. 

S ODS Heabtes) het Hoopai 16; pepehi 6; halua upena pupu; pepehi 9. 

or anise Gp ita | ats; Lauma’u; puili halua; puili halua pawehe; kapuai koloa. 
364) 152 8.5x1.7. 23.5 Mole halua; mole; mole; koeau halua pawehe. 

386 =-:116..5 8.7x1.5 20.5 Hoopai 20; hoopai 23; hoopai 21; hoopai 20. 

357 elses Vpn cscs) | itt) Niho liilii; puili; puili pawehe; hoopai halua. 

387a@ 14.1 8.2x1.6 24 Pepehi 14; pepehi 9; hoopai 40; hoopai 39. 

389 «617 Geypsids 2S Upena halua pupu; upena halua; pepehiupena 11; hoopai 18. 
390 =-«14..5 S.7x0.0) 2S Pepehi halua 10; pepehi 9; hoopai 30; hoopai 36. 


Mus.No. Length. 


391 

392 

393 

394 

397 

398 

399 

401 

403 

404 

495 

406 
2845 
2846 
2847 
2848 
2849 
2850 
2851 
2852 
2853 
2854 
2855 
2856 
2857 
2858 
2859 
2860 
2861 
2862 
2863 
2864 
2865 
2866 
2867 
2868 
2869 
2870 
2871 
2872 
2873 
2874 
2875 
2876 
2877 
2878 
2879 
2880 
2881 
2882 


15-7 
14.6 
14.2 
16 

13 

16 

14.2 
16.7 
17 

14.2 
1 7/oR) 
16.7 
14.5 
16.2 
14.5 
15.2 
15.2 
14.7 
15.5 
15.5 
14.5 
14.4 
14.6 
12.5 
13 

14 

15.5 
14.5 
14.7 
16.2 
15.5 
14.3 
14.2 
15.8 
15.5 
16 

15.2 
14 

14.8 
15.1 
16 

ray 
13 

14.7 
14.6 
15 

16.7 
14 

15 

17 


Face. 
Seale 
@) xii. 
Tosesive 
@)l:<it 
7 XT 
8.7XI. 
G}  SXitp 
Sha7 Pt 

10.6X1I. 
@) *Xil, 
LOMessT(. 
TO) ZI c 
8.5xX1. 
8.5x2 
Glelgpcil 
Sane salee 
7.5X2 
a) Sita 
Sieesste 
Oeste 
Samexaiee 
FolrSihc 
8.5x2 
(Sit, 
ayes 
8) St 
Oi 
fs) SEI 
8.4x1. 
7.8x2. 
8.5xXI. 
Sr2snTn 
eval 
g.5XI1. 
9.8x1. 
10.5X1. 
So 7PXIhg 
i) Sit. 
8.2x1. 
8.5X1. 
8.5xXI. 
Togprsibe 
7p OR. 
8.7X1. 
Glaspie 
Sees. 
g.QxI. 
8.5x1. 
Oras 
9.5X2 


ANB AIANT AO WADAADS DUNT AnNAANWwWHA 


HDoAnwnanntnrn Af 


(oe) 


on 


WAwon O OO 


List of Beaters in Brshop Museum. gI 


Weight. 
15 
18.5 
22 


iS) 


by wb wb 
HH WO 
na mn 


O) 
on 


Hoopai halua; pepehi 12; mole upena pupu; hoopai 23. 
Mole halua; pepehi 6; pepehi 7; pepehi 11. 

Hoopai 15; hoopai 21; hoopai 41; hoopai 35. 

Pepehi 9; pepehi 12; hoopai 29; hoopai 36. 

Pepehi halua 14; pepehi 8; pepehi 7; mole upena halua. 
Mole halua; hoopai 26; pepehi 10; pepehi ro. 

Mole upena pupu; mole upena pupu; pepehi 5; pepehi halua ro. 
Upena halua pupu; pepehi 10; hoopai 25; hoopai 28. 
Pepehi halua 7; pepehi 12; pepehi 12; pepehi 9. 

Mole halua; koeau halua; mole upena pupu; mole upena pupu. 
Halua maka upena; hoopai 40; hoopai 24; hoopai 34. 
Pepehi 9; pepehi 11; pepehi 13; hoopai 17. 

Halua pawehe niho mano; halua pupu; hoopai 27; hoopai 22. 
Puili; hoopai 31; hoopai 30; puili halua koeau. 
Hoopai 17; hoopai 21; hoopai 24; pepehi 13. 

Pepehi 8; pepehi 9; halua upena; hoopai 18. 

Pepehi 9; mole halua; hoopai 19; pepehi 9. 

Hoopai 39; pepehi 13; hoopai 28; hoopai 15. 

Pepehi 8; mole halua; pepehi 12; pepehi 7. 

Hoopai halua; pepehi 9; upena halua pupu; pepehi 13. 
Pepehi 9; hoopai 23; halua upena; pepehi 9. 

Hoopai 15; pepehi 8; mole halua; hoopai 19. 
Pepehi 10; mole halua; hoopai 18; pepehi rr. 

Haao; hoopai halua 18; hoopai 23; hoopai 33. 
Hoopai 15; hoopai 25; hoopai 23; hoopai 17. 

Pepehi 7; koeau halua; hoopai 21; pepehi 12. 

Pepehi 6; hoopai 21; hoopai 20; hoopai 15. 

Hoopai halua; pepehi 10; hoopai 23; hoopai 26. 
Hoopai 14; hoopai 33; hoopai 21; hoopai 17. 

Pepehi 7; pepehi 6; hoopai 18; mole halua. 

Pepehi 8; halua upena; pepehi 9; pepehi 11. 

Hoopai 16; hoopai 25; hoopai 23; hoopai 19. 

Koeau; hoopai 35; hoopai 29; hoopai 30. 

Pepehi 9; hoopai 14; hoopai 33; hoopai 34. 

Pepehi 13; pepehi 10; hoopai 24; hoopai 18. 

Pepehi 8; pepehi 10; mole pupu; mole halua. 

Hoopai 15; hoopai 15; hoopai 30; hoopai 28. 

Pepehi 9; hoopai 16; mole halua; hoopai 16. 

Hoopai 28; mole halua; pepehi 9; pepehi 14. 

Hoopai 36; hoopai 33; hoopai 33; hoopai 33. 

Pepehi 8; pepehi 9; mole halua; pepehi ro. 

Pepehi halua 14; upena pupu; upena pupu; upena pupu. 
Hoopai 20; hoopai 17; pepehi 7; pepehi 7. Koaia wood. 
Pepehi 14; hoopai 17; hoopai 30; hoopai 29. 

Hoopai 15; pepehi halua 7; hoopai 25; pepehi 13. 
Pepehi 9; hoopai 24; pepehi 8; hoopai 20. 

Pepehi 7; hoopai 19; hoopai 28; hoopai 14. 

Hoopai 32; hoopai 35; hoopai 22; hoopai 16. 

Hoopai 24; hoopai 30; hoopai 30; hoopai 28. 

Pepehi 9; pepehi 12; hoopai 16; pepehi 6. 


92 Ka Hana Kapa. 


Mus.No. Length. Face. Weight. 

2883 15.4 O54 Ly Pepehi 8; pepehi 11; hoopai 22; hoopai 22. 

2884 16.2 8) sens) Pepehi halua 12; hoopai 26; hoopai 26; pepehi ro. 

2885 14.8 8.5x1.6 21.5 Hoopai15; hoopai 21; hoopai 27; hoopai 25. 

2886 14 ep crice ie “aH Pepehi halua 10; hoopai 20; pepehi 6; pepehi 12. 

2887 14.5 8 x1.I 10.5 Pepehi1o; pepehi 7; pepehig; pepehi 11. 

2888 14.5 75st O 20 Pepehi 10; hoopai 19; hoopai 32; hoopai 30. 

2889 15.5 9:53.25 18 Pepehi 10; pepehi 7; hoopai 16; hoopai 16. 

2890-15 De xp) 27, Hoopai 15; hoopai 32; hoopai 35; hoopai 35. 

2891 15 >. a 0) Pepehi 12; pepehi 10; hoopai 25; hoopai 23. 

2892-15 Oy Sie is) Pepehi 10; pepehi 13; hoopai 34; hoopai 34. 

2803 «15-2 g XI.6 Hoopai 32; hoopai 16; halua upena; hoopai 44. 

2894 14.3 Ses rs Pepehi 8; pepehi 7; mole halua; pepehi 12. 

2895 13.8 8 x1.5 14.5 Pepehi7; mole; halua upena; pepehi ro. 

2896 = 18.4 9.251.8 30 Hoopai 29; hoopai 23; halua niho liilii; pepehi 6. 

2900 15.7 8.4xI.4 16 Hoopai 19; hoopai 20; hoopai 25; hoopai 25. 

2901 15.4 O.1x0.6 29 Pepehi 12; halua upena; halua upena; pepehi 8. 

2902 14.9 ag peluesh a Siz Pepehi 11; hoopai 16; hoopai 20; pepehi 14. 

BO038 ts.r S.5e0equ Te Halua ||; pepehi7; pepehi 7; halua upena. Koaia wood. 

2904 13.2 7, Sal 5 eo Hoopai 16; hoopai 16; puili; hoopai 30. 

2905 13.8 Sc5x0.5 9 16 Hoopai 12; hoopai 21; hoopai 21; pepehi 14. 

29ObNe 5.7, O07) @ 221 Hoopai 32; pepehi 7; pepehi 12; hoopai 15. 

2907. 13 O.2xr2 8 Pepehi 5; pepehi 5; pepehig; halua upena. 

2908 -15.5 8.8x1.6 20 Hoopai 30; hoopai 34; hoopai; hoopai 26. 

2909 -:14.3 PCxie a 1S Pepehi 12; hoopai 16; hoopai 25; hoopai 30. 

2910 15.2 7.7x1.8 21.5 Pepehi 7; mole halua; hoopai 27; pepehi 12. 

SUL pe LARS 8751-4) O18 Puili halua; hoopai 27; pepehi 6; pepehi 12. 

2912 14.6 Siasn.6. 2 Hoopai 14; hoopai 34; hoopai 20; hoopai 2r. 

2013 15:7 O57 =.6) * 27 Pepehi 9; pepehi 11; hoopai 16; hoopai 25. 

2914 12.6 6.7X1.2 11.5 Pepehi6; hoopai halua 14; mole upena pupu; pepehi halua 8. 

2915 14.7 Se Pei tefele awe) Hoopai 20; mole halua; pepehi 8; pepehi 9. 

2010.) 1139 Feb aed Pepehi 9; pepehi halua 13; mole halua; mole upena pupu. 

2017 13.2 Sb eye 23 Hoopai 15; hoopai 33; hoopai 33; hoopai 23. 

2918 14.6 8.2x1.6 21.5 Pepehi 13; hoopai 27; hoopai 27; hoopai 16. 

2920 «14.8 9) 20.9) #25 Upena pupu; upena pupu; mole halua; pepehi 7. 

2921 14.7 B27 eee Hoopai 17; hoopai 20; hoopai 25; hoopai 30. 

2922 “TA5 Sees ae Pepehi 7; pepehi 8; halua upena; mole halua. Koaia wood. 

202284. 15-2 g.2x1.8 28 Niho mano; hoopai 47; hoopai 43; hoopai 18. 

2924 15 4.58027 55 Upena halua pupu; upena pupu; upena pupu; halua pupu []. 
Koaia wood. 

2925 16.2 S x09) §29 Koeau halua; painiu; hoopai 26; hoopai 26. 

2926 =616.2 Se2xm0) 925 Halua niho mano; koeau; kapuai koloa; puili. 

2927 16.2 7 XI.7 25.5 Lauma’u; kapuai koloa; lauma’u; lauma’u. 

2928 13.6 8 xXI.2 12.5 Halua leihala; hoopai 19; hoopai 20; mole pupu. 

2930 »=14.6 8.2x1.9 21.5 Mole halua niho liilii; pepehi 7; pepehi6; hoopai23. Nioi wood. 

2031 27-4 10.7x2.2 do Hoopai 30; hoopai 21; halua pawehe; pepehi 14. 

2932 @©416 Qvaci7 226 Lauma’u; hoopai 15; hoopai 28; hoopai 28. 

2933 115.6 Oxy Ye Mole upena pupu; pepehi 10; hoopai 16; hoopai 26. 

BOVem lee 8.2x1.5 14.6 Mole pupu; pepehi halua 8; pepehi halua 8; pepehi 6. 

3074 =«15 Q\scr 16) 19 Pepehi 6; hoopai 18; pepehi 9; pepehi 12. 

3075 14.4 8 


XI 9.5 Pepehi halua 7; mole; halua upena; pepehi7. Decayed. 


Mus. No. 


3076 
3077 
3078 
3079 
3080 
3081 
3082 
3083 
3084 
3085 
3086 
3087 
3088 
3089 
3090 
3091 
3093 
3094 
3095 
3096 
3098 
3099 
3100 
6861 
6862 
6863 
7754 
8672 
8673 
8674 
8675 
8676 
9374 
9375 
9376 
9377. 
9378 


9379 
9380 
9381 
9382 
9383 
9384 
9385 
9386 
9387 
9388 
9389 
9390 


Length. 


15.4 
T5E2 
14.6 
15.6 
14.2 
14.5 
15-4 
18 

15.2 
14.2 
17.2 
14.5 
14.5 
14.6 
14.2 
17.5 
15.7 
16.8 
14.2 
15-5 
132 
15 

13.5 
13) 2 
15.2 
15.2 
15-7 
16.9 
14.5 
15.6 
15.3 
13.5 
15.4 
17.5 
15.7 
7) oes 
16.5 


17.9 
15-7 
16 

15.2 
17.8 
14.5 
15.8 
15.2 
18 

15.2 
15.8 
16.8 


Face. 
S\7/2S1l « 
8.5xX1. 
Sieexshe 
8.5xXI. 
TO 
8.5XI. 
Q9.5X1. 
HU aire 
8.5xXI 
Test p 
Q.9xI 
8.5XI. 
8.5X1. 
3 Re 


Ey (NN) (oe) fry Con fa) el On Sy GN TS) en 


Siexsie 
10.8x1I. 
8.5xX1 
HO) >:<)t 
G) sit. 
8.7X1 
Ges pas 
8.5xI1. 
6.5xX1. 
7.51. 
6.5X1. 
7.5X1. 
OL 7251 
8.5X2. 
Fixer 
8.5XI 
Gp Fis 
8.2x1. 
lapse! 
i) Sir, 
9.7XI 
LO. 7x. 
9.6x1I. 


BARAK aAUDAERAKHwAUNYD OH AD 


SIDHU 


Sr ex. 
9.5xX2 
Gamexa te 


~I 


8.5xXI. 
WG) Sele 
8.2x1. 
GQ) Sit, 
@) Fei 
10.5XI. 
8.5xI. 
(of chi 
9.5X1.9 


oyrwyayhY aM 


List of Beaters in Bishop Museum. 93 
Weight. 

18 Pepehi 12; pepehi 6; pepehi 7; pepehi 8. 

17 Hoopai 21; upena pupu; hoopai 21; hoopai 19. 

14 Koeau halua; puili; pepehi 10; mole upena pupu. 

21 Pepehi 7; hoopai 25; hoopai 15; pepehi 6. 

16 Mole upena pupu; mole; pepehi 12; mole upena. 

IO Halua upena; mole pupu; pepehi halua 7; pepehi halua ro. 

8 Pepehi 4; upena pupu; upena pupu; pepehi 3. 

22 Upena halua pupu; hoopai 30; hoopai 29; mole halua. 

15 Pepehi 8; mole halua; mole; pepehi rr. 

25 Hoopai 40; hoopai 31; hoopai 36; hoopai 35. 

16.5 Pepehi13; pepehi 9; hoopai17; hoopai 22. 

20.5 Pepehi 8; pepehig; hoopai halua 21; pepehi 9. 

14 Pepehi 9; pepehi 10; hoopai 16; hoopai 16. 

30 Pepehi 10; hoopai 15; mole halua; hoopai 35. 

19.5 Pepehi6; pepehi 8; pepehi 13; pepehi ro. 

24.5 Pepehi7; pepehig9; hoopai 18; halua upena. 

16 Pepehi 6; pepehi 9; hoopai 21; mole halua. 

26 Upena halua; mole halua pupu; mole halua; pepehi 11. 

28 Hoopai halua 29; hoopai 29; pepehi 13; pepehi rr. 

20 Puili halua; iwipuhi; hoopai 23; hoopai 26. 

20 Pepehi 9; pepehi 14; hoopai 23; hoopai 22. 

21.5 Upena pupu; pepehi6; pepehi halua 10; upena pupu. 

II Koeau; koeau; puili; hoopai rubbed off. 

16 Pepehi 8; pepehi 9; hoopai 17; mole halua. 

16 Halua koeau; puili; koeau; laau niu. 

21 Halua upena pupu; halua upena pupu; hoopai 15; pepehi 10. 
24 Mole upena; upena pupu; pepehi 8; hoopai 25. 

29 Hoopai 17; pepehi 9; pepehi 7; mole halua. 

42 Hoopai 50; hoopai 50; hoopai 50; hoopai 50. 

22 Puili halua; koeau; hoopai 38; hoopai 39. 

7 Koeau halua; puili; koeau halua; kapuai koloa. 

15 Pepehi 7; pepehi 10; hoopai 25; mole halua. 

20 Pawehe; upena halua pupu; upena halua pupu; hoopai pawehe. 
25 Hoopai 27; halua upena; hoopai halua 17; hoopai halua upena 16. 
24 Upena pupu; mole halua [ |; hoopai 21; puilihalua. Nioi wood. 
31 Pepehi 14; pepehi 11; pepehi 7; pepehi 8. 

24 Upena halua pupu; upena halua pupu; pepehi halua pawehe; 

upena halua pupu. 

30 Upena pupu; pepehi upena; halua upena pupu; halua pupu. 

29 Pepehi 8; pepehi 15; pepehi 11; pepehi 8. 

17.5 Pepehipawehe 12; pepehi6; hoopai22; puili halua. Uhiuhiwood. 
23 Niho mano; halua upena; hoopai 22; niho mano. 

24 Upena pupu; hoopai 15; upena halua pupu; hoopai ar. 

iy) Kapuai koloa; puili halua; halua upena; pepehi 7. 

28 Hoopai 50; hoopai 28; pepehi 14; hoopai 32. 

22 Halua upena pupu; hoopai halua 20; pepehi 12; pepehi 9. 

26 Pepehi 12; pepehi5; pepehi 7; pepehi ro. 

22.5 Upena halua; upena halua pupu; hoopai 20; pepehi ro. 

28 Hoopai pawehe 22; hoopai 30; hoopai 42; hoopai 24. 

29 Hoopai 39; hoopai 35; hoopai 36; hoopai 23. = 


94 


Mus. No. 


9391 
9392 
9393 
9394 
9395 
9396 
9397 
9398 


9399 
9400 
9401 
9402 
9403 
9404 


9405 
9408 
9658 
9659 
9953 
9955 
9956 
9957 
9958 
9959 
9960 
9961 
9962 
9963 
9964 
9965 
9966 
9967 
9968 
9969 
9970 
9971 
9972 
9973 
9974 
9975 
9976 
9977 
9978 
9979 
9980 
9981 
9982 
9983 


Length. 
8 


16 


Au HMHAKHAAA 


nn 


wom in 


nin 


ro) 


a 
wronono 
“4 
- 


oka AS 


DAUuH.D 


oOnok ANA 


Audb OAKHA HUA OD 


n 


tN 
N 
n 


yy 
° 
o 


N ON 
mt O 
tn on 


Nv 
oo 
wn 


Ka Hana Kapa. 


Pepehi 12; pepehi 10; pepehi 12; pepehi rr. 

Upena halua; upena halua pupu; upena halua; upena pupu. 

Upena pupu; hoopai 17; hoopai 28; hoopai 25. Uhiuhi wood. 

Hoopai halua 15; pepehi 8; hoopai 18; hoopai 29. 

Pawehe pupu; pawehe halua; halua upena; upena pupu. 

Upena pupu; upena pupu; pepehi 6; upena halua pupu. 

Mole halua; pepehi 11; pepehi 6; pepehi 9. 

Upena pupu; upena halua pupu; pepehi upena; pepehi upena. 
Koaia wood. 

Hoopai halua 17; upena halua; upena halua pupu; halua upena. 

Pepehi halua; hoopai 28; hoopai 24; pepehi 11. 

Upena halua pupu; halua upena; halua upena; mole upena pupu. 

Halua upena; pepehi 12; hoopai 18; hoopai 20. 

Iwipuhi; hoopai 18; pepehi 8; pepehi 13. 

Upena halua; pepehi halua upena 13; halua upena pupu; hoopai 
halua 15. 

Hoopai 29; hoopai 21; hoopai 32; hoopai 30. 

Hoopai 42; mole; hoopai 33; mole. 

Koeau halua; hoopai 31; hoopai 33; hoopai 33. 

Pepehi 5; upena pupu; pepehi 4; halua upena. 

Hoopai 33; pepehi 8; pepehi 12; hoopai 24. 

Hoopai 40; hoopai 19; hoopai 21; hoopai 34. 

Hoopai 30; hoopai 30; pepehi halua 14; pepehi 1o. 

Pepehi 7; pepehi 9; pepehi 12; pepehi 12. 

Pepehi halua 9; pepehig; halua upena pupu; halua upena pupu. 

Hoopai halua 19; hoopai 35; hoopai 27; hoopai 35. 

Pepehi 12; pepehi 7; pepehi 8; mole halua. 

Pepehi 10; halua upena pupu; halua upena; pepehi 6. 

Hoopai 20; hoopai 20; pepehi 6; upena pupu. 

Pepehi 8; mole pupu; mole pupu; halua upena pupu. 

Pepehi halua 8; upena pupu; mole halua; pepehi 7. 

Hoopai 20; pepehi 8; pepehi 11; hoopai 16. 

Hoopai 21; hoopai 24; hoopai 15; hoopai 15. 

Pepehi 10; hoopai 27; pepehi 8; pepehi 8. 

Pepehi 11; hoopai 26; pepehi halua 13; hoopai 15. 

Hoopai 27; hoopai 25; pepehi 13; hoopai 26. 

Hoopai 30; hoopai 27; hoopai 29; halua upena. 

Hoopai 25; pepehi 5; pepehi halua; hoopai 23. 

Hoopai 20; hoopai 27; hoopai 24; hoopai 20. 

Hoopai 30; hoopai 31; pepehi halua niho 10; pepehi 14. 

Hoopai 33; pepehi 11; pepehi 13; hoopai 18. 

Hoopai 22; pepehi 8; hoopai 20; pepehi 7. 

Pepehi 9; pepehi 8; upena pupu; pepehi halua 7. 

Hoopai 17; pepehi 12; pepehi 13; mole upena pupu. Nioi wood. 

Hoopai 25; hoopai 23; pepehi 13; pepehi 12. 

Pepehi 8; pepehi 7; hoopai 17; pepehi halua 9. Lehua wood. 

Pepehi 9; pepehi halua 8; upena pupu; hoopai 17. Lehua wood. 

Pepehi 7; pepehi 7; hoopai halua 15; halua upena pupu. 

Upena pupu; puili; puili halua pawehe; puili halua. 

Mole halua; pepehi 5; hoopai 23; hoopai 27. 


The Malo Boards. 95 


Mus.No. Length. Face. Weight. 

9984 14.8 Sospsrte Ao Pepehi halua 7; pepehi6; upena pupu; hoopai 22. Koaia wood. 
9985 15 Goel Be Pepehi 9; pepehi 7; mole halua; pepehi 12. 

9986 —s-:15.5 Q idl TF Halua upena; pepehi 14; pepehi 6; pepehi halua 6. Koaia wood. 
9987 15.2 Sage 7 Upena pupu; halua konane pupu; pepehi 6; pepehi halua 9. 
9988 16.8 Oat iA Mole pupu; pepehi 7; pepehi 10; pepehi halua 6. Koaia wood. 
9989s «14.4 GB Rta ws Pepehi 13; hoopai 20; hoopai 22; pepehi rr. 

9990s-14.5 8.6xI.4 14 Hoopai 16; pepehi 9; pepehi 8; hoopai 20. 

999I 13.5 Gagpeitya 10 Mole halua; pepehi 5; mole pupu; pepehi 9. 

9992—Ss«dI5 O} sxitg7f 28) Hoopai 38; hoopai 33; hoopai 33; hoopai 25. 

9993 ~=—«:16..6 OT AS) Hoopai 26; pepehi 11; hoopai 15; hoopai 27. 

9994 14.7 8.5X1.5 16.5 Pepehi5; pepehi halua 9; mole; mole upena pupu. 

9995 14.5 8.7X1I.2 12.5 Pepehi 7; mole halua; mole; pepehi rr. 

9996 =14.6 Teen it) Koeau puili; puili halua pawehe; puili halua pawehe; puili. 


Koaia wood. 


9997 13.4 7.51.6 19.5 Hoopai 27; hoopai 31; hoopai 32; hoopai 15. 
g998_—s-i15..2 g x1I.2 12.5 Mole upena; hoopai 14; pepehi 8; mole halua. 
9999 —s*i5 Ones ual Iwipuhi; iwipuhi; hoopai rg; laau niu. 

10077. 15.9 6.7x1.9 29.5 Koeau; puili; puili halua; koeau halua. 

10978 815 Ons uh Hoopai 21; hoopai 23; pepehi 8; pepehi 12. 


PapA HoL_e~ Kua ULA, oR MALo BOArRDs. 


WE come now to an implement which seems logically between the kua kuku 
and the ze kwkuw, the anvil and the beater. It is, in its usual form, a rather long and 
narrow board of the hard and tough kauila wood, grooved in the Aoofaz pattern, one 
of which is shown in Fig. 32, resting on the ordinary anvil. Others are shown in 
Fig. 44 that the varying sizes may be noted: the dimensions are given below. 

These are said to have been used in making malo and pa’u, the waist cloth of 
the male and female respectively. I have never seen them used, and they are rare; 
neither are they found on the other groups, so far as known. A curious modification 
that brings them nearer to the kapa beaters is found in a specimen in the British 
Museum, and in another belonging to Hon. S. M. Damon, which he has kindly 
placed at my disposal for illustration (Fig. 45). I have seen no other specimen. 
The length of this is 32.5 inches, and the equal faces are 2.5 inches wide; the grooves 
number 39-39-19-38; length of face, 26 inches; weight, 7 lbs. 7 oz. ‘The corners are 
slightly broken. 

I believe that the effect in breaking up the fibre and making the tissue very 
flexible would be marked in the motion of two sets of “oofaz grooves at nearly right 
angles to each other; the result must be a gentle pulling or grinding action, hence 
the product would be quite suitable for the malo or pa’u, both of which garments 
should be soft and flexible to be comfortable. We may consider then that the papa 
hole kua ula were a refinement for better finishing kapa. 


Ka Hana Kapa. 


FIG. 44. PAPA HOLE KUA ULA. 


FIG. 45. 


PAPA HOLE KUA ULA, IN MR. DAMON’S COLLECTION. 


INSTRUMENTS FOR MAKING AND MARKING KAPA. 


FIG. 46. 


Memorrs B. P. B. Museum, VOL, III.—7. 


98 Ka Hana Kapa. 


It may well be believed that a pulp, more or less mucilaginous, would stick 
both to the beaters and to the boards; indeed the grooves were often clogged, and for 
use required an instrument to plow out the grooves. Such a tool is shown in Fig. 46, 
No. 4043, the lower edge being sharp enough to fill the shallow groove; the upper 
part is formed for a convenient handle. So few 
of these have survived that it may well be sup- 
posed that a sharp stick or edge of bambu were 
the more common cleaners. One of these cleaners 
is in the Leiden Museum (Fig. 47). The boards 
were grooved on both sides (and in one example on the long edges also), and the 
fineness of the grooving differed on the two sides. The sizes of the heavy kauila 


boards in this Museum are as follows (the boards are shown in Fig. 44):— 


FIG. 47. GROOVE CLEANERS. 


Papa HoLtE Kua ULA IN THE BISHOP MUSEUM. 


Museum . = 
No. Length. Width. Thickness. Grooving per inch. 


745 36.4. G3 a, | L708 and 152-0523 
740. 238 7.8-8.1 1. -1.8 13.7-14.6 and 16 -16.9 
7 fy ee 8.3-8.5  .7- .9 I1.5-11.6 and 14.6-15.3 


TAQ 4 A525 4 -4.8 .6-1 12 and 14.3 Half a board. 

7EOL, AB Awe 2 LO HLL. 2;3-12-5 and 15-7 

Wear Ss oe 8.4-8.5 .4- .8 g.8-10 and 13.8-14.3 

752 30 7 Py .6- .8 9.3 and 14.3-14.5 

754 36.8 4.1-4.5  .5- .9 12.5-13 and 15.8-16 Half a board. 

oxi eho Gar 5-1 I2 -12.3 and 17.3-17.8 

7704 35-3 6.6 25,0 P1.2-01-3 and 15.5-15-5 

7746 36.4 747X 53-05 £1.8-r2 and as -16.a lear border: 

9410 = 38.7 6.7 .3- .9 I1.5-11.7 and 19.3-19.7. Edges 5 and 2 grooves. 


Before leaving the actual manufacture of kapa, plain and unfigured, it will be well 
to note the effect of the figures cut on the beaters on the tissue itself, and it appears that 
they cause not merely a “water mark” to appear by transmitted light, as shown in Figs. 
48, 49, which are impressions on the plate by light transmitted through the actual kapa. 

In the first figure (48) the beaten fibres are shown unmarked, and the inter- 
lacing of the fibres appears complete in this, the thinnest of the kapa made by 
Hawaiians. A much thicker specimen is shown in the second figure (49), distinctly 
marked with the soeaw pattern cut on the beater. The skill of the worker is shown 
in the exactness of the overlapping blows of the beater. It gives much the effect of 
woven cloth, and when the pattern is /oopaz this effect is heightened. It is not diffi- 
cult to see that the fabric cut into valleys and ridges, would be more flexible in one 


Marks of Carved Beaters in Kapa. 99 


direction, under either of these patterns, but another form of beater with a series of 
grooves at right angles to another, and fwfu or depressions in the square interstices 
would cut the material into a sort of network possessing great mobility in more than 
one direction. This is shown in Fig. 50, the beater being the “a/ua pupu. ‘This well 
illustrates the 7d/e of the little holes which seem at first a merely idle variant of the 
pattern. We must give the Hawaiians the credit of having thought out the simple 
means of giving additional flexibility to the kapa without diminishing to any great 
extent the substance. In the photographs we are looking through the cloth, but, 


2 
224 


ae " 
cf We 


FIG. 48. PLAIN KAPA. FIG. 49. KAPA MARKED WITH KOEAU. 


except in this test, the cloth does not show the marking here so distinct. When, how- 
ever, the kapa is beaten very thin the beater marking does make a distinct appearance 
on the surface, although far from as distinct as when viewed by transmitted light. 
The form of Fig. 50 is rather a distinct Kauai form, and seldom, if ever, found on kapa 
beaten on the other islands. ‘There is another of these apparently merely ornamental 
patterns that accomplishes the same end without the pupu. This is the Za/wa upena, 
shown in Fig. 51. The black lines of this pattern are where the pulp has been forced 
into the deep grooves, and the white rude triangles between where the flat surface of 
the beater has compressed the general surface of the kapa. Such cloth is very flexible 
even when quite thick, and was well adapted for malo and pa’u making. 

Examples could be multiplied of the desirable modifications wrought by the 
carved beaters in the texture of the fabric, but those given will explain the process, 


Liners tor Marking Kapa. IOI 


The other Polynesians who did not use carved beaters, so far as known to me, had to 
depend on the tenuity of the fabric for desired flexibility. 

We have considered the plain kapa varied by only the cryptic markings of the 
beater thus far, and while I shall leave the matter of ornamentation as practised by 
the old Hawaiians to a later page, we must here continue our review of the armamen- 


tarium of these primitive websters. Doubtless the first decorative marks were made 


rg | 


aa oe 
z al 
t . 


bi 


an ee 
Te 


FIG. 52. KAPA MARKED WITH SINGLE LINES. COOK COLL. 


with natural objects, as the rings of the pattern stamped with the end of a bambu 
(Fig. 7, p. 20), or with leaves or other natural objects shown in many illustrations of 
this book, but I do not quite consider these in the class of tools which are the work of 
man’s hand, and of these last liners were probably very early used. At first a pointed 
stick dipped in the paint or dye would serve the purpose, and some of the illustrations 
will seem to some of my readers as marked with this rude tool, but soon a handier 
tool was required, with increasing skill and improving skill, and the well-made liners 
Nos. 1265 and 1266 of Fig. 46 were good pens for this work. Many of the patterns, 
beautiful in their simplicity, shown in our illustrations were made with such tools, 
and, as my readers can judge, well made. 


Lining Pens of Bambu. 103 


Our Polynesian friends did not always love labor for labor’s sake, and we may 
suppose they were not long in inventing the labor-saving contrivance of the multiple 
pen shown in Nos. 1262 and 1263 of the same figure. “These were made of the same 
hard, dark colored wood and might well have served for forksshad the primitive 
Hawaiian menu called for such implements. ‘The form was there, but not the use, 


FIG. 54. COMPOSITE LINES. 


and the cannibals of Fiji were perhaps the first ones in the Pacific ocean to trench 
upon the time-honored use of the fingers.”” 

Besides the neat wooden liners a much more common form was made from a 
splint of bambu, as shown in Fig. 53. These, it will be seen, have another feature of 
decorative convenience in the arrangement of the marking points in pairs, triplets, or 
any desired combination. Easily made and sharpened, light to handle and fairly well 
suited for taking up the colored ink and holding it for even distribution when wanted, 


*7It is claimed that the use of human flesh as food leayes a phosphorescent glow on lips and fingers of the 
partakers of this rich feast. I do not vouch for the truth of this, having never been a guest at such a banquet. 
The legend goes on that the glow was supposed to be the ghost or spirit of the baked one, and to avoid this presence, 
especially disagreeable to primitive man, the cylindrical forks often seen in museums were deyised. 


104 Ka Hana Kapa. 


their use was general, and our illustrations will show the astonishing accuracy of the 
ruling and the cleanness of each individual line. Of course there are exceptions that 
I have not hesitated to present, for to me their very raggedness is an attraction over 
the very precise, almost machine-like ruling of Fig. 52, for example. 

The bevel on some of these liners will be noticed, and also that they are right 
and left hand. A very few are pointed at both ends, but these are rare and seemingly 
inconvenient, from the danger of scattering the dye, a trouble which must have been 


a constant care with the kapa printers. 


A modification of lining is sometimes met with, as shown in Fig. 54 where the 
lines on close examination are found to be double. This adds not a little to the 
effect of the design. ‘The ink must have been good to permit such ruling, and the pen 
was probably bambu, as the fibres of this are easily divided and do not wear readily. 

Before we leave Fig. 46 we must call attention to the paint brushes, No. 2982, 
simply a key or achene of the cone of the pandanus.” By mastication the tough 
fibres of the base are separated from the often edible portion, and are as serviceable 
as the modern hog’s bristles of the civilized painter. Some of the work of such brushes 
is seen in Plates I, Rand W. ‘The supply of such brushes was, in the mat-making 
days, almost inexhaustible. 

The other tools represented in the figure were used in fastening together pieces 
of thick kapa, or more commonly the five sheets of kapa constituting a kuzwa kapa 
moe, or set of bed covers which were stitched together by a kapa tape at one side only 
(Fig. 55). No. 2983 was a stiletto of whale’s ivory to punch the holes: No 2988 was a 


See the picture of this cone in Chapter III. 


Flawatian Sewing. 105 


bone needle, and No. 4472 was a similar instrument of kauila wood. Coarse as these 
needles seem, they were quite capable of doing neat work in the hands of the old 
Hawaiian women. ‘They were even more used in the southern groups.” See Fig. 55 
for this stitching. 


FIG. 57. UPPER SIDE OF THE SEAM SHOWN IN FIG. 56. 


On examining the sewing on the oldest kapa, I find it was by no means of a 
single, simple kind, and we must stop here toexamine this. ‘The question even arises, 
why did they sew at all, when it was so common a practice to paste or weld by beating 
two or more sheets together? In some cases this question is not easy to answer; in 
the case of the £uza of the kapa moe, it was undoubtedly the easiest and most convenient 
method of uniting five sheets, that frequently might need a certain amount of separa- 
tion for airing or dyeing, but when in use should be kept together firmly. The thread 


63Cook seems not to have noticed this, as he gives the Hawaiian sole credit for sewing. 


106 Ka Hlana Kapa. 


is either a simple tape of kapa untwisted, or more commonly a cord of the same 
material, or of hau bark, often well twisted as a foreign twine. From the upper or 
kilohana side of the £uzna this thread does not show, a narrow strip being neatly folded 
over the seam as shown in Fig. 55, where also the average spacing of the stitches in 
the better grades of kapa is shown. Athough this seems little more than a basting 
thread, its strength is considerable, and the sheets would tear sooner than the unit- 
ing thread give way. 

When the stitches are greatly shortened the suture becomes stronger and better 
adapted to unite sheets endwise, a sort of running rivet, which was perhaps a very 
early form of sewing. An example is given in Fig. 56 of a thick tapa dating from 
the end of the eighteenth century. ‘The texture is firm and smooth, and one side is 


FIG. 58. UNDER SIDE OF A TAHITIAN SEAM. 


decorated with converging stripes of black and crimson on the more finished face. 
The process seems to have been to place the two sheets finished face to finished face 
and run the stitches about an inch from the edge and an eighth of an inch apart. 
The thread is not of the same substance as the sheets, as in the previous examples, 
but a rolled, not twisted, cord of flattened fibres. When the ends are bent to one side 
and the sheets spread open the seam presents the appearance shown in Fig. 56. The 
lower line of stitches on the right of Fig. 56 was a botch, and the right line was con- 
tinued above, leaving the false track simply in the fold. 

Next I note in the same collection a good example of the twining stitch, or the 
over and over seam, in a thick fluted Tahitian tapa, which is painted red on the under 
side, which is shown with the seam in Fig. 58. ‘The upper side is painted with nearly 
black zigzags on a light brown ground; the markings are on alternate flutings. 
Perhaps a more definite example of the commonest stitching (with a splice in the 


A Very Old Hawaiian Seam. 107 


thread) is shown in Figs. 59 and 60, the upper and under side of an Hawaiian kapa: 
the lining is in two shades of red on a buff ground. ‘The rarest example that I can 


show is a seam in a specimen of kapa without designated locality, but which I am in- 
clined to consider Hawaiian,” is shown in Fig. 64. The kapa is buff with red and black 


FIG. 59. UNDER SIDH OF AN HAWAIIAN SEAM, 


> FIG. 60, UPPER SIDE OF SEAM SHOWN IN FIG, 59. 


7Since the above was written, all doubt of its Hawaiian origin has been removed. In the curious collection 
of tapas brought home by Cook was a small fragment from these islands, which I painted for the lower figure of 
Plate W. I have since received from my friend Dr. Enrico H. Giglioli of Florence, Italy, a larger specimen of the 
same pattern from the Cook relics in the Florentine Museum, which most fortunately has a similar seam (Figs. 63, 64). 


This specimen has faded more than my small fragment, but the latter, haying been preseryed in book form and thus 
shielded from light, still exhibits the colors shown on Plate W. 


108 Ka Hana Kapa. 


lines painted on the upper side; by no means a fine piece of work. The smooth sides 
were put together and the edges turned back about five-eighths of an inch; the thread 
was then passed through and back (not over) the folded edge, close to this and at intervals 
of a quarter inch; the thread is smooth and of small twisted fibres, and the seam hardly 
shows on the right side, and it is not easy to follow the thread on the other. 


FIG. 61. UNDER SIDE OF AN OLD HAWAIIAN SEAM. 


FIG. 62. UPPER SURFACE OF FIG. 6I. 


I should have called attention to the deft mending with a few stitches of the same 
thread used in the seam, near the middle of the upper half, Fig. 58. This mending 
in thin kapa was always done with paste anda thin bit of the cloth, but in thick 
specimens like this these thread mendings are often seen. Genuine darning I have 
never seen; it is always the twining stitch. In the Florentine specimen the thread 
seems to have been drawn tightly when the kapa, which is now very hard and stiff, 
was wet or moistened, and the ridge formed was then beaten or pressed flat. 


Ca ee 


FIG. 63. SEAM ON KAPA IN COOK COLL. FLORENCE. 


FIG. 64. UPPER SURFACE OF FIG. 63. 


IIO Ka Hana Kapa. 


BAMBU PRINTING TYPES. 


THE curious little bambu stamps which none of the early voyagers saw, or at 
least cared to mention, were a far better, if more laborious, substitute for the Samoan 
upete, and the similar wholesale stamp of the other southern groups. Fortunately 
(as in the case of the kapa beaters) we have in this Museum a large number for our 


4 


examination. Especially liable to destruction, both by accident in use and the rav- 


' 
' 
' 
, 
| 
' 
{ 
‘ 
{ 
' 
‘ 


FIG. 65. THE CARVED END OF BAMBU STAMPS. 


ages of insects, very few of the great numbers that must have been in use have sur- 
vived, and it is seldom they are found in museums. 

The native bambu,”* Oke (Bambusa vulgaris), never acquires great size, seldom 
more than two inches in diameter, so that the portion of its cylindrical stem that 
would be flat enough for a useful stamp is limited in most cases to less than an inch 
in width, while the distance between joints is quite sufficient for convenient handling. 


Plate 8 will show the general form of these, while Fig. 65 will show the carved ends, 


**Captain John Adams, whose residence here extended over much of the last century, believed this grass was 
introduced, but he had no proof, and the use of it by the old Hawaiians for nose-flutes, fans, mats, bellows, straight- 
edge, knives, stamps. and yarious instruments of percussion to mark time for the dance seems to indicate a greater 
antiquity. The native name is applied also to two other canes and to a tree of different family, so that cannot be 
cited as a witness to its-claim as a child of the soil; on the other hand it is found scattered all over the group in 
valleys and at the foot of precipices, and in some cases in the craters of tufa cones. 


FIG. 66. BAMBU_ STAMPS IN THE DAMON COLLECTION, 


« 


OTL OOK 06 
me 
BK 33 BK 53 


\ 


q 
A 


~HENH of PHBE 0%" 


Oo 
Ss 
~ 
fa} 


FIG. 67. IMPRESSION OF STAMPS IN FIG. 66. 


TLZ Ka Hana Kapa. 


and Plate 9 the impressions made. The relief is rather strong, and, with a careful 
hand, capable of giving a clear impression, while the combination of these impressions 
is capable of great variation. With the method of holding the stamp, supported by 
another bambu as a mahlstick, the process is by no means difficult. 

Besides the ohekapala, he ohe kakau in this Museum, I have had the use of the 
very choice ones in the collection of the Hon. S. M. Damon at Moanalua. Of some 
of these an illustration is given in Fig. 66, while their impression is shown in Fig. 67. 

If the bambu was not indigenous, or of very early introduction, it may well be 
asked with what did the older Hawaiians stamp the specimens which are still before 
us after an existence of a century and a half? In answer we may point to the very 


rare wooden stamps, one (B. P. B. M. 2949) is in this Museum, and another in Copen- 


FIG. 68. STAMP IN COPENHAGEN. FIG. 69. STAMP ON KAPA. 


hagen; they also used tortoise-shell (ea) as illustrated in Plate 7, the third specimen 
from the right, where the pattern is cut from thin shell and neatly lashed to a bambu 
holder (which might have been of wood as well); and the impression from such a 
stamp is shown in No. 57 of Plate 9, and another in No. 38. 

While all the designs at hand are geometric and apparently destitute of all 
symbolism, one in the Copenhagen Museum (which is given in Fig. 68 about double 
size), shows a very unusual pattern, and in the same museum I found two specimens 
of kapa of modern appearance, one with bunches of red and black leaves, the other 
with “palms”, Fig. 69. In the same museum were six ohekapala, one with ea stamp; 
here also was one of the instruments for cleaning the hoopai grooves of pa’u boards 
and beaters, Fig. 47. 

There is another tool which is in effect the carpenter’s “chalk line”. Cords of 
hau or coconut fibre were well twisted, dipped in dye and snapped across a sheet of 
kapa, the result being, if the operator was dexterous, a broken line of more or less 
regular rhombs. ‘This is shown on many modern kapas and also on some of consider- 


able age, but I am inclined to think the trick was borrowed from the foreigner. 


STONE IMPLEMENTS FOR KAPA-MAKING. 


If we except the natural stones placed under the ends of the £va kuku or anvil 
for beating the kapa on, and the stones used to keep the bundles of bark beneath the 
surface while soaking in the brook, we have thus far met with no stone implements 
either in Hawaii or elsewhere,” for we can hardly call the stones put on the edges of 
the great sheets of kapa (as paper weights) to prevent disturbance by the wind while 
bleaching, or on the smaller sheets just from the printer, by a term so dignified. And 
yet, I remember there is a cut stone often used on the Hawaiian group for the same 
purpose, a weight, and it is included in the little group of stone tools figured below, 
as it is used more in other ways (grinding herbs for therapeutic application, etc.). 
I need only refer to it as Fig. 70, a, where it appears as a rude stone signet ring, and 


FIG. 70. STONE IMPI,EMENTS USED IN KAPA WORK. 


was conveniently formed for handling, while the weight (9 lbs. 2 oz.) was sufficient 
to hold the light kapa firmly to. the ground. 

Strictly, the kapa-making ends with this; and the following are used in the 
preparation of the dyes for decorating the kapa, or the sachet-powders for scenting the 
finished fabric. It is not a long nor a varied list, as may be seen in Fig. 70, where 
are collected all the stone objects known to be especially devoted to this use. It is of 
course understood that for crushing the kukui or kamani nuts for the extraction of 
their oil larger stone mortars were used, and these have been figured and described in 
a former work.7* Rude and simple, carrying one in thought back to the stone age, 
are these little cups and mortars, but they served their purpose well in their time and 
now rest from their labors on the Museum shelves. In the figure 4 was a cup to hold 
the dye for the bambu stamps; c was the hollowed stone for the muller used to grind 
the ochre (a/aea) of various shades of yellow and red found in many places on this 


7In Mexico small stone beaters were used. These will be illustrated in the appendix. 
7 Ancient Hawaiian Stone Implements, Memoirs, vol. I, p. 366. Plate xlvi of the same volume shows ring 
poi-pounders like in form to the presser already mentioned, and which may well be an ill-made or partly-shaped 


poi-pounder. (113) 
Memoirs B. P. B. Museum, Vou. ILI,—s. 


114 Ka Hana Kapa. 


group. The horizontal length of this cup is seven inches, and this will serve as scale 
for the other objects. As may be supposed few kapas were stamped in monochrome, 
and several paint saucers were required by the artist, and at d were two foho hooluu 
or cups for dye. The pestle or muller, ¢, has radiating grooves on its face, and is used 
to grind zanahu or charcoal (fohaku kui nanahu) in the mortar ending the group. 
The ochre mixed well with the oil, especially with that of the kamani ( Calophyllum 
Tnophyllum), dried quickly and made a very durable color. The charcoal was in 
great demand for giving a gray tint to the white kapa, for which purpose it was 
applied in a small bag of kapa much as indigo was sewed up in a cotton bag with us 


FIG. 71. COCONUT AND BAG FOR CHARCOAL. 


by the laundress of former times (2984 in Fig. 71). The sources of the charcoal 
were various, and doubtless each of the brighter kapa printers had his, or rather her, 
preference, much as the chief printers of these modern days have their decided choice 
in printer’s ink. I was, many years ago, when I had a library, showing a folio of the 
early years of the sixteenth century to a printer who ranked high among the great 
printers of that day, and he sadly exclaimed, “Oh that we could get such brilliant ink 
as that now!” It would seem that the inks of the present day had attained great 
perfection, but they are not yet four hundred years old. 

The kukui nut roasted, as some roast coffee, was a favorite source of xanahu, 
and in the coconut figured above are the remains of a few of these nuts as they were 
left by the old Hawaiian printer. In other islands the smoke of the burning kukui, 
so universal a candle among the people whose huts the noble trees shaded, would have 


y 


LO oegeee 


PHVENOP ESI OCC TIR 4, 
aaa heeeres, 


povesete 
a % 


‘? 


MUSEUM, 


SHOP 


BI 


A PORTION OF THE KAPA CASES IN THE 


3 9b 


FIG 


116 Ka Hana Kapa. 


been collected as the medieval monk collected the soot of their more artificial though 
malodorous candles to compound the jet black and lasting ink with which they slowly 
and with loving hand engrossed those manuscripts coveted by the collector in these 
days of fast and often careless printing. Sugarcane was another source of charcoal, 
and the burnt caramel might vie with the nutty perfume of the kukui; neither 
had the disgusting smell of some of our modern inks. Doubtless there were other 


encaustics, but these were the chief ones. 


Clie keri 
THE RAW MATERIAL, 


THAT the small list I shall give here of the material used for the fabrication 
of bark-cloth is complete, even for the Hawaiian Islands, cannot be claimed. No one 
now knows what convenience or necessity added to the cultivated stock which was the 
main dependence of the kapa-makers: but this is of little importance in the Hawaiian 
region, for these supernumeraries played no important part in the manufacture. In 
other countries, especially in continental regions, the greater richness of the Flora 
gave many desirable trees and shrubs from which innumerable experiments, extending 
through uncounted centuries, had sifted out the most suitable from the merely good- 
enough; and we have seen that in the tapa region of Africa various (not always known) 
specimens of the genus Ficus are the chief purveyors, and in the Malayan home even 
the ‘deadly Upas tree”, that bugbear in the stories of former days, furnishes a good 
and harmless bark easily beaten into useful cloth. 

Still the Paper-mulberry, the waoke,’* or wauke, of the Hawaiians, awte, malo, 
mast, etc., of other peoples, easily holds the first place, from China, where its use is first 
recorded, to the “islands in the uttermost part of the sea.”” Everywhere cultivated as a 
very useful plant, it appears asa homeless wanderer; like the Children of Israel, it has 
been taken from its native country to be a desirable help and comfort to the tribes who 
receive and cherish it. But unlike the Hebrew wanderers, its home has been forgotten : 


“Tf I forget thee, O Jerusalem, let my right hand forget her skill.”’ 


Fully has its cultivation been described in the many quotations from the early 
voyagers, and it only remains to give the reader a picture of the plant and some idea 
of its botanical relationships. Would that a picture could be presented of an old 
Hawaiian plantation! But before photography was common they had ceased to be, 
and it must have been a more than usually skilful draughtsman who could fix the 
delicate, ever moving leaves of the waoke; in the breezes the rows along the edges of 
the kalo patches seemed to me like kahilis waving over the feast; the slender stems 
and the delicate leaves seemed in perpetual motion. ‘The picture of a plant from 
Manoa valley (Fig. 74)” is the best at hand. 


741 have preferred the first spelling as most closely conforming to the pronunciation of the old kapa-makers. 
73The plant was kindly furnished by Dr. C. M. Cooke of the Museum staff. (117) 


118 Ka Hana Kapa. 


But we must not let the waoke hurry us out of the orderly arrangement of our 
material. While there are many trees in the tropical region of the Pacific that may 
furnish bark fibre, and still more in the other tropical regions where bark-cloth was 
made, it will be wise to confine our studies mainly to those in the Polynesian groups, 
and more particularly to the known trees of the Hawaiian Islands, without, however, 
binding our pen too strictly when illustration is needed from other regions. 

First, of course, we must treat of the fibre-furnishing plants, and so extensive 
has been the search for fibres for other purposes than cloth-making in the old way, 
that it is not difficult to get information of these. When we pass from the fabric to 
its decoration we are on a ground by no means so firm, for while the trees, shrubs, 
vines and roots furnishing dyes or paints are known by name, that is often all that we 
do exactly know of the methods which made them useful; we have with some of them 
only ‘a speaking acquaintance”. Nor does our list stop with the vegetable world; 
it includes also earths, both as ochres and as mud, which was doubtless a compound 
of earthy and vegetable matter. Because our knowledge of these things is far from 
complete we are not to drop the discussion, but courageously offer to our reader what 
we think we know, honestly confessing our ignorance when it blocks the way, trying 
all the while to interest others, who may know far more of this or that, to take up 
the thread and spin it out as bright and fair as they may. Why not experiment with 
these plants; try their bark, both of stem and of root; their leaves, their fruit; mace- 
rate them and boil them, add mordants, whether oil, tannin or salts, and when we 
have done all these we do not know that the old Hawaiians used any of our processes. 
The temptation to dabble in dyes is great, and curious and often amusing results 
come of such experiments; but while we sometimes get a color fairly matching the old 
native dye, we find we can also get it in several other ways, and have come no nearer 
to the actual old Hawaiian process. 

Of the perfumes so popular among the Hawaiians, many are used to scent 
clothes of woven cloth at the present day in much the same way that they gave their 
odor to correct the rather unpleasant smell of the raw kapa of the olden time. Certainly 
some of the native popular perfumes are not pleasant to a European. 

While it would not be well to turn a treatise on the making of bark-cloth into a 
botanical text-book to any great extent, the labor in looking for this description or that 
synonym is certainly an inducement to save the reader a part of this trouble by quoting 
here such descriptions as are needful, or in some cases making modified descriptions 


from the living plant, or the specimens in the herbarium of the Bishop Museum. 


PLANTS FURNISHING FIBRE. 


The plants furnishing the fibre for the kapa fabric are mostly of two families 
as at present classified, the Woracee or Mulberry, and Uriecacee@ or Nettle families. 
To the former belong the following genera :— 


Morus, the Mulberry, furnishing through the silkworm a tissue. 
Broussonetia, the Paper-mulberry or Waoke; the most important source. 
Artocarpus, the Breadfruit or Ulu. 

ficus, the Fig, found in all tropical countries, though not native to Hawaii. 
Antaris, the poisonous Upas tree. 


Of the latter are the following genera :— 


Pipturus, the Mamaki, second on Hawaii only to the Waoke. 

Behmeria, a plant of fine fibre; many species used for cordage. 
Neraudia, the Oloa, and 

Touchardia, the Olona, not used for kapa, but for most durable cords, etc. 


Outside of these closely related families are a few other plants, not much used 
but capable of furnishing good kapa:— 


Paritium, the Hau, a very valuable tree, and 

Thespesta, the Milo, with beautiful wood, both belonging to the Malvacee, and 
Rubus, the Akala or Raspberry, belonging to the Rosacez. 

Celtis, one of the Elm family, used on the Nicobar Islands. 


All these we may take up in this order and then pass in a less orderly manner 
to the dye stuffs and perfumes, but treating these generally in the order of their 
importance when known. Both the Morus and an allied Hawaiian genus, Pseudomorus, 
we pass by as foreign to our subject, and take first the best known and most widely 
spread source of the best kapa, Broussonetia papyrifera, the Paper-mulberry. 

I shall give the generic description, as is customary, in the original form of 
description, and then the distinguishing points of the species before us in the ver- 
nacular. Where I have not had access to the original, or that is too incomplete, I have 
taken the version given by Hooker and Bentham in the Genera Plantarum. 


Broussonetia Vent. Tab. du Régne Végét., vol. iii, p. 547; Endl. Gen. n. 
1858.—F lores dioici. Fl.¢: dense spicati, bracteati. Perigonium 4-partitum, laciniis 


ovatis, acuminatis, zestivatione imbricatis, demum patentibus. Stamina 4, perigonil 
(119) 


FIG. 74. BROUSSONE'TIA PAPYRIFERA. PAPER MULBERRY. 


The Paper Mulberry. neat 


laciniis opposita; filamenta filiformi-subulata elastica; anthere, introrse 2-loculares, 
dorso affixe. FI.?: super receptaculum globosum dense capitato-congesti, squamis 
pilosis (floribus abortivis) mixti. Perigonium urceolatum 3-4-dentatum. Ovarium 
ovatum, r-loculare, gynophoro clavato demum elongato oblique impositum. Ovulum 1, 
parietale, amphitropum, micropyle supera. Stylus filiformis, excentricus, hinc stig- 
matosus. Achenium subcarnoso-gelatinosum, gynophoro baccato basi perigonio cincto 


FIG. 75. BROUSSONUTIA PAPYRIFERA,. YOUNG TREE. 


longe exserto elevatum, ejusque marginibus ineequaliter productis inclusum. Semen 
pendulum, uncinatum; testa tenuissime membranacea. Hmbryo intra albumen parcum 
carnosum homotropus, uncinatus; cotyledonibus oblongis incumbentibus; radicula 


umbilico contigua, supera.—Arbores lactescentes; foliis alternis, integris vel lobatis. 


B. papyrifera Vent., /. c.— Foliis 3-5, lobis adultioribus subrotundo-ovatis 
indivisis, supra scabris subtus villosis—Morus papyrifera Linn. See also Fig. 74. 
Although no longer cultivated on these islands, the waoke appears here and there as 


a volunteer and is not easy to eradicate. 


122 Ka Hana Kapa. 


Artocarpus Forst. Char. Gen. ror, t. 51.—Flores monoici, in capitula unisex 
ualia globosa v. oblonga densissime conferti, receptaculum carnosum undique obte 
gentes, involucro nullo. FI. d¢: Perianthium 2-4-lobum v. partitum, lobis segmentisve 
apice concavis obtusis leviter imbricatis. Stamen 1, filamento erecto seepius compla- 
nato; anthera breviter exserta. Ovarii rudimentum o. FI1.9: Perianthium tubu- 


losum, obovoideum oblongum vy. lineare, obtusum yv. umbonatum, basi receptaculo 


FIG. 76. MALE BLOSSOMS OF ARTOCARPUS. 


carnoso immersum concretumque apice liberum, foramine minuto interdum 3—4-den- 
tato pertusum. Ovarium rectum, inclusum, receptaculo sepultum sed ab eo liberum; 
stylus centralis v. plus minus lateralis, apice stigmatoso exserto lineari spathulato 
rarius subpeltato rarissime 2-3-fido; ovulum sub apice affixum, pendulum. Perian- 
thia fructifera numerosissima vy. rarius pauca, cum receptaculo carnoso in syncarpium 
apicibus liberis parum auctis echinatum v. areolatum alte connata. Achznia syncar- 
pio inclusa; pericarpium membranaceum y. coriaceum. Semen conforme, pendulum, 


The Breadfrurt Blossom. 123 


testa membranacea; albumen 0; embryo rectus v. incurvus, cotyledonibus crasso- 
carnosis zequalibus v. valle inzequalibus, radicula brevissima supera.— Arbores lacte- 
scentes. Folia alterna, ampla, coriacea, pennivenia, iutegerrima v. pinnatim pauci- 
loba, rarius pinnatim -foliolata. Stipule laterales, ceeterum varie. Pedunculi 
axillares, solitarii, brevissimi v. longiusculi. Flores parvi, numerosissimi, receptacu- 
lum sepius carnosum breve v. elongatum undique obtegentes. Syncarpia parva 
mediocria v. maxima, fructibus sezepe paucis perfectis prope centrum syncarpii im- 
mersis, perianthiis tamen omnibus tam sterilibus quam fertilibus apice sepius 
equaliter auctis, nunc obtusissimis v. umbonatis mutua pressione angulatis syncar- 
pium extus areolatum v. perfecte continuum formantibus, nunc lineari-elongatis syn- 
carpium echinatum efficientibus. Achzenia intra perianthia v. locellos syncarpii libera: 

Two of the more than forty species have long been cultivated in the Pacific 
region, the Jack and the Breadfruit, the latter in many varieties. This alone has 
interest in the present study, although several other species are used for their fibre in 
India and the Malay Peninsula. 


A. incisa, native U/u.—A tree 40-60 ft. high and spreading; the roots in the 
soft moist soil which it prefers often exserted, forming a network on the ground. 
Leaves coriaceous, more than a foot in length, pinnatifid with acute or somewhat ob- 
tuse lobes. Stipules 2, free, very large, rolled round the bud and imbricate, soon 
caducous. Flowers: 6, thick, oblong, somewhat flattened: 2, flowers on large glo- 
bose receptacles, which are at first covered by two large spathaceous bracts, the 
latter terminal. 

The Breadfruit was as close a companion of the Polynesians in their wander- 
ings as the waoke. The Hawaiian Islands were the limit of its growth on the north, 
and we have already seen how its companion, the waoke, was brought to New Zealand 
by the Maori immigrants five or six centuries ago, only to be kept alive with great 
care, and finally to die out of the unfavorable climate. Perhaps they brought the 
breadfruit also in some of the canoes, but if they did it must soon have perished so 
far below the southern limit. On the Hawaiian group there is but one variety, seed- 
less, and propagated by suckers,’° while in the southern islands there are several. 
Among the Hawaiians, again, it was by no means so important an article of food as 
it was farther south and west; they never preserved it, as in Micronesia and elsewhere, 
and the season was short. Fine trees were found all over the inhabited parts of 


Hawaii, and at Lahaina, on Maui, were as fine trees forty years ago as any I have 


76While there is but one botanical variety, every one who has eaten many knows that there is great difference 
in the quality of the fruits, alsoa marked difference in the shape of these fruits, the oblong ones being generally 
preferred. 


124 Ka Hana Kapa. 


seen in Samoa or Fiji. Here they generally mark the site of some deserted habita- 
tion, of which all other traces have disappeared. 

The wood is white, soft and durable, and was much used formerly, but the part 
of the tree which most concerns us is neither wood, bark or fruit, but the male blos- 
som, the powle, which, although useless as a male blossom, since the female never 


seeded, was used to some extent to mix with the fibre of waoke in the manufacture of 


FIG. 


77. ¥FICUS TINCTORIA. 


a rare kind of kapa to which it gave name. How the native came to use it,”? or what 


good it did to the other fibre are unknown to me. 


Ficus Linn. Gen. n. 1168.— Flores monoici v. rarissime dioici, receptaculo 
carnoso globoso ovoideo pyriformi v. rarius oblongo szpissime androgyno ad os par- 
vum -seriatim bracteato inclusi. Fl.¢: Perianthium 2-6-fidum v. partitum, lobis 
segmentisve imbricatis, rarissime ad squamam unicam reductum. Stamina 1-2, v. 
rarius 3-6, filamentis brevibus rectis; anther exserte v. incluse, ovate v. oblong. 


Ovarii rudimentum o. FI. 2: Perianthii segmenta quam in mare szpius pauciora 


It is possible that, as under the Doctrine of Signatures, it was used as the sigil of the malo, the waist-cloth 
of the men. 


The Figs. 125 


angustioraque, nunc tamen tenuia et late imbricata v. minuta v.o. Ovarium rectum 
v. mox obliquum; stylus saltem post fecundationem excentricus v. lateralis, brevis v. 
filiformis apice in stigma peltatum, cavum, oblongo-lanceolatum, lineari-lanceolatum 
v. longe caudatum rarius ineequaliter 2-crure dilatatus; ovulum apice vy. sub apice 
lateraliter afixum pendulum. Achzenia receptaculo spe aucto arcte inclusa, peri- 
anthio fructifero immutato v. rarius succulento stipata v. vestita, v. in paucis speciebus 
nuda; pericarpium crustaceum induratum siccum vy. extus succulentum, rarius totum 
carnosum. Semen pendulum, testa membranacea; albumen szpius parcum; embryo 
curvus, cotyledonibus eequalibus v. inequalibus interdum plicatis, radicula sursum 
incumbente.—Arbores fruticesve lactescentes. Folia alterna v. rarius opposita, inte- 
gerrima dentata v. lobata, forma et venatione quam maxime varia; stipule gemmam 
terminalem involventes, caducissime. Receptacula sepius gemina v. uno abortiente 
solitaria, ad axillas v. ad nodos defoliatos ramorum vetustiorum, interdum in ramis 
distinctis aphyllis conferta v. racemosa, pedunculo seepius brevissimo apice 3-bracteato 
vy. nudo. Bracteze ad os receptaculi c-seriate, parve, exteriores sepe erecte um- 
bonem terminalem efficiunt, interiores horizontales v. intra receptaculum reflexe. 
Flores ¢ interdum numerosi foemineis intermixti, seepe tamen iis pauciores, interdum 
perpauci in parte superiore v. juxta os receptaculi: 2 szpius numerosi, receptaculum 
intus fere totum v. partem inferiorem obducentes. Bracteole inter flores 2 seepius par- 
ve v.0, nunc inter superiores d v. rarius ubique majores, flores achzniaque superantes. 

As more than 600 species have been described in this great genus, scattered 
widely through the warmer regions of the earth, it would seem probable that one at 
least might have been found on the Hawaiian Islands; but although many species 
flourish in cultivation, none is indigenous. ‘The bark of a number of species of fig, 
not always determined, was used, as we have seen, in Africa and elsewhere for its fibre, 
and the thick milky juice of the fruit was used in combination with the juice of the 
Cordta to make the beautiful crimson dye in Tahiti. As the species of Ficus used in 
these ways are not well known outside the tropics, and differ essentially from the com- 
mon fruiting fig of temperate regions, the generic description has been given, and 
figures of two representative species commonly used (though not on the Hawaiian 
Islands) for the manufaCture of bark-cloth and its decoration. I would not have it 
understood that these are the only ones used for these purposes, for there are scores 
of these useful trees perhaps as suitable as the ones selected, but these show the gen- 


eral form of the leaf and fruit of most of the class. 


F. tinctoria Forst. Prod. n. 405.—Found in Fiji, the Society Islands and 
Wallis Island. In Tahiti called mae. A large tree entirely glabrous, with simple 
stem. Leaves alternate, with short, cartilaginous petioles, ovate-oblong, rather acute, 


126 Ka Hana Kapa. 


entire, with 8-10 pairs of veins, 3 inches broad. ‘Twin fruits axillary, pedunculate, 
globose, little larger than a pea. ‘The use of the fruit has been described on page 12) 
and need not be repeated here. ‘The illustration is taken from Pl. LXII of Seemann’s 
Flora Vitiensis. 

F. bengalensis Linn. Hort. Cliff. 471, n.4.—The Banyan. A tree 70-100 ft. 
high, rooting from the branches, and thus forming accessory trunks, greatly extend- 
ing the growth of the tree (I have seen in India an example covering four acres). 


FIG. 78. FICUS BENGALENSIS. BANYAN. 


Leaves 4-8 2-4 in., glabrescent above, beneath glabrous or minutely pubescent, re- 
ticulations distinct; nerves about 5 pairs, prominent; petiole 4-2 in., stout, stipules 
34-I im., cori- aceous. Fruits sessile in pairs, axillary, globose puberulous, red and 
about the size of a small cherry when ripe, with three broad, rounded, spreading basal 
bracts. Tree planted in all the plains of India; wild only in the sub-Himalayan 
forests and on the lower slopes of the Deccan Hills. Cultivated also in the Hawaiian 
Islands. I made the photograph from which Fig. 78 has been engraved more 
than twenty years ago, and on seeking the tree for the purpose of assuring myself 


Pipturus Albidus: Mamakt. 127 


of the species, found that the tree had been destroyed some years before to make 
room for a house. I am, therefore, not entirely certain of my determination of the 
species, but it is certainly a banyan. The bark was fibrous and well suited for 
beating out a coarse cloth, and in India is used much for ropes. (Desc. J. D. Hooker, 
Flora of India.) 


Antiaris Leschen, in Ann. du Mus. Par., vol. xvi, p. 476, t. 22; Trécul in 
Ann. Sc. Nat., ser. 3, vol. viii, p. 142, t. 6, f. 158-162.— Flores monoici. Fl.¢: in 
involucro c-floro, «-phyllo, foliolis plurifariam imbricatis, receptaculum demum con- 
vexum cingentibus, dense congesti. Perigonia 4-rarius, 3-phylla, inter se aliquando 
connata; foliolis spathulatis, apice inflexis, eestivatione imbricatis. Stamina 4, rarius 
3, perigonii foliolis opposita, inclusa; filamenta brevissima; anthere oblonge, erecta, 
extrorse, biloculares, loculis connectivo lineari adnatis, rima longitrorsum dehiscenti- 
bus. Fl. 2: super receptaculum foliolis imbricatis instructum solitarii. Perigonium o. 
Stylus brevis, bifidus, cruribus filiformibus. Ovarium involucro connatum, 1-loculare, 
r-ovulatum; ovulum ex apice loculi pendulum. Fructus drupaceus. Semen testa 
chartacea; embryo exalbuminosus, cotyledonibus plano-convexis crassis; radicula 
supera.—Arbores vel frutices lactescentes; foliis (in A. forzcarza) distichis petiolatis 
integris integerrimus, nonnunquam dentatis, basi seepe cordatis, apice acutis vel 
acuminatis; stipulis 2 axillaribus, non amplexicaulibus; inflorescentiis axillaribus, 


masculis geminis vel pluribus femineis solitariis. 


A. toxicaria Leschen.—A majestic tree, attaining 250 ft.; branchlets glabrous, 
pubescent or pruinose, young villously hirsute. Leaves 4-8 in., glossy, base rounded 
or cordate; young lanceolate, serrulate, hirsute; petiole very short. Male receptacles 
orbicular and peduncles velvety, % in. diam. Fruit like a small fig, purple, scarlet 
or crimson, pyriform, velvety, intensely bitter, tipped with a few bracts. India on the 
Ghats; Ceylon; Malay Islands. (J. D. Hooker.) 


Pipturus Wedd., in Ann. Sc. Nat., ser. 4, i. 196.—Flores dioici v. rarius monoici, 
dense globoso-glomerati. FIl.d¢: Perianthium 4-—5-fidum, lobis ovatis acutis valvatis. 
Stamina 4-5. Ovarii rudimentum lanatum. FI]. 2: Perianthium ovoideum, apice attenu- 
atum, ore contracto minute dentato, fructiferum tenuiter carnosulum. Ovarium inclu- 
sum, perianthio adherens; stigma lineare, exsertum, uno latere villosum, deciduum; 
ovulum a basi erectum. Receptaculum sub fructibus globosum, leviter carnosum vy. 
siccum, spe villosulum. Achzenium perianthio parum aucto herbaceo v. carnosulo 
arcte inclusum, a quo tamen szpius liberum; pericarpium rigide membranaceum v. 
tenuiter crustaceum. Semen conforme, testa tenuiter membranacea; albumen perpar- 


128 Ka Hana Kapa. 


cum; cotyledones late.—Arbores fruticesve elati, rarius scandentes. Folia alterna, 
integerrima vy. crenato-serrata, 3—5-nervia, subtus szpe canescentia; stipule in unam 
intrapetiolarem bifidam coalite, caducissime. Florum glomeruli nunc ad axillas 
sessiles solitarii, nunc spicati, secus rhachin simplicem vy. ramosam dissiti sessilesque. 
Bracte minime. (H.& B.) 


P. albidus Gray, in Mann’s Enumer., no. 430.—Shrub 5-8 ft. high, the young 
branches gray-tomentose. Leaves ovate, 3-4 1-2%4 in. on petioles of %-1¥% in., 
quite acute, crenato-serrate, rounded or slightly contracted at the base, chartaceous, 
sparingly hispid or glabrate above, shortly white-tomentose underneath on the areoles 
between the darker veins, tripli-nerved. Stipules triangular lanceolate, bifid to the 
middle into subulate lobes. Flowers all sessile in axillary clusters of 3-4 lines in di- 
ameter, which nearly clasp the stem, white-tomentose or rather hispid, either dicecious 
or moncecious and then the female heads occupying the upper part of a branch, but not 
rarely both sexes in one glomerule. Bractlets minute. Male perigone reddish, acutely 
4-fid to the middle or less. Stamens little exserted. Female perigones on a thick, at 
last fleshy receptacle, minutely 2-4-toothed, the commonly uncinate stigma longer 
than the perigone. Found on all the islands, especially by the roadsides through 
forest clearings. Variable as to both size and canescence of the leaves. Not known 
elsewhere. The Mamaki of the natives was second only to the Waoke in importance 
as material for kapa. At present there is much more of it growing on the islands 
than of Waoke. See Fig. 79. 


Boehmeria Jacq. Stirp. Amer., 246, t. 157.— Flores monoici v. dioici, utri- 
usque sexus globoso-glomerati. Fl.¢: Perianthium 4-lobum v. 4-partitum, rarius 3-v, 
5-partitum, lobis segmentisve ovatis valvatis dorso sub apice mucronatis v. muticis. 
Stamina 4, rarius 3 v. 5. Ovarii rudimentum clavatum v. subglobosum. FI. @: Peri- 
anthium tubulosum, compressum vy. ventricosum, ore sepius contracto 2—4-dentato, 
fructiferum interdum auctum in angulos 2 acutos v. alatos dilatatum v. intus cellulo- 
sum. QOvarium inclusum sessile v. stipitatum; stigma elongato-filiforme, uno latere 
pilosum, diu persistens nec in ovario articulatum; ovulum a basi erettum. Acheeni- 
um perianthio marcescente inclusum eique haud raro accretum; pericarpium tenuiter 
crustaceum; dum liberum extus nitidum. Semen conforme, testa tenuiter membra- 
nacea; albumen varium; cotyledones ellipticee v. ovate.—Arbuscule frutices v. suf- 
frutices, magis minusve pubescentes. Folia opposita v. alterna, azqualia v. ineequilatera 
dentata et rarius 2-loba, 3-nervia; stipule libere vy. rarius intra petiolum basi connate, 
deciduze. Florum glomeruli fere semper unisexuales, ad axillas v. ad nodos v. secus 


rhachin spice v. ramos cymz panniculiformis sessiles. Bracte parve, scariose. 


Menmorrs B. P. B. Museum, VoL. III.—9. 


FIG, 79. 


PIPTURUS ALBIDUS,. 


MAMAKI, 


FIG. So. 


BQHMERIA STIPULARIS, 


a 


Oloa and Olond. 131 


B. stipularis Wedd., in Ann. Sci. Nat., Ser. iv, 1 (1854), 200.—Shrub 3-5 ft. high, 
with stout angular, hispid branches. Leaves opposite, equal, ovate, 6-7 4-5 in., on 
petioles 1-3 in., shortly acuminate coarsely serrate, emarginate or subcordate at base, 
thick in texture, rugose on upper face, tripli-nerved, all nerves strongly ridged under- 
neath. Stipules interpetiolar, broad-lanceolate, 2-2% in. bicarinate, soon caducous. 
Flowers moncecious with androgynous clusters, but with one sex prevailing; clusters 
1-2 lines in diameter; male flowers prevail at the extremities of the panicle, female 
along the lower branches. ‘The tough fibre was much used for kapa-making. 


Neraudia Gaudich., in Freyc. Voy. Bot., 500, t. 117, et Voy. Bonite, t. 133.— 
Flores dioici, glomerulis dense capitatis ad axillas sessilibus. FIl.¢: Perianthium 
4-partitum, segmentis acutis valvatis, alabastro ovoideo v. acuminato. Stamina 4. 
Ovarii rudimentum longe lanatum. F1.?: Perianthium tubulosum, basi ventricosum, 
apice tenuatum, ore contracto sub-4-dentato, fructiferum plus minus auctum carnosum. 
Ovarium rectum, inclusum; stigma lineare, supra ovarium articulatum, villosum, 
deciduum nisi in ore perianthii retentum; ovulum a basierectum. Achznium peri- 
anthio carnosulo arcte inclusum, depressum, basi circumcircea incrassatum v. in lobulos 
seu cornua 4 dilatatum; epicarpium carnosulum, endocarpium crustaceum. Seminis 
testa endocarpio adnata; albumen parcum; cotyledones ovatee.—Frutices, teste Gaudi- 
chaudio, lactescentes. Folia alterna, petiolata, integerrima, 3-nervia, supra interdum 
creberrime punctulata, cystolithis parum conspicuis; stipule parve, intrapetiolares. 
Florum capitula utriusque sexus ad axillas solitaria, arcte sessilia. (J. D. Hooker.) 


N. melastomzfolia Gaudich., 7. c.— A low shrub, 3-5 ft. high, Oloa of the 
natives, branching from the base. Leaves ovate or elliptico-oblong, 3-6 1-2™% in., 
on petioles 14-2 lines, entire, thin, chartaceous, 3-nerved, glabrous above, gray pubes- 
cent beneath or glabrate. Flowers sessile, pubescent, 3-10 ina cluster. The varie- 
ties may perhaps all be included under this original species. I have not identified 
any kapa made from this plant, but the old natives mention its use. 


Touchardia Gaudich. Voy. Bonite, t.94.—Flores dioici, utriusque sexus dense 
globoso-glomerati. FI.¢: Perianthium 5-partitum, segmentis membranaceis subim- 
bricatis, sub apice dorso leviter mucronatis. Stamina 5. Ovarii rudimentum clavatum. 
F1.9: Perianthium alte 4-lobum, lobis 2-seriatim imbricatis apice incrassatis concavis- 
que. Ovarium rectum, inclusum; stigma brevissimum v. oblongum, uno latere papil- 
loso-penicillatum, stylo brevi fultum; ovulum a basierectum. Achzenium perianthio 
carnosulo laxe inclusum, compressiusculum, pericarpium fragile. Semen conforme, 


132 Ka Hana Kapa. 


testa tenuiter membranacea; albumen mediocre; cotyledones ovate.—Frutex elatus, 
glaber. Folia alterna, longe petiolata, maxima, dentata, pennivenia et basi sub-3-nervia; 
Stipule magne, in unam intrapetiolarem connate. Florum glomeruli stricte globosi, 
ramos paucos panicule lateralis terminantes, v. uno alterove secus ramum paniculee 


sessili. Flores in glomerulo fere sessiles, bracteis parvis scariosis. (J. D. Hooker.) 


T. latifolia Gaudichaud, /.c—Shrub, 4-8 ft. high, with a viscid juice. Leaves 
on petioles of 3-1 in., ovate, 9-16X5-9 in., acute, obtusely crenate, rounded at the 
base, chartaceous, dark green and glabrous on both faces. Stipules 2 in., acute. 
Glomerules generally in repeatedly forking cymes, with one branch suppressed and 
the middle glomerule sessile; the male cymes longer and broader than the female. 
This Hawaiian plant is found sparingly in deep ravines on all the islands; the 
olona of the natives; its fibre is used not for kapa, but for cords and threads employed 
in sewing kapa; no more durable fibre is known. See Fig. 81. 


Hibiscus (Paritium) Linn. Gen. n. 846.—Bracteole , rarius 3-5, sepius 
anguste, liberz v. coalite. Calyx 5-fidus v. 5-dentatus. Columna staminea infra 
apicem truncatum v. 5-dentatum (rarius anthiferum) filamenta » exserens. Ovarium 
5-loculare, loculis 3—-ovulatis; styli ramis 5, patentes v. rarius erecto-subconnati, 
superne seepe incrassati, nunc brevissimi apice in stigmata capitata v. spathulata 
dilatati. Capsula loculicide 5-valvis, endocarpio rarius membranaceo-solubili v. in 
dissepimenta spuria per dehiscentiam fissa producto. Semina reniformia, subglobosa 
(v. rarius obovoidea?), glabra tomentosa v. lanata——Herbe frutices v. arbores, nunc 
elatee hispid v. tomentosz, nunc humiliores v. glabre. Folia varia, seepe partita. 
Flores colore vario, plerumque speciosi, petalis szpe macula discolori notatis. 
Bracteole persistentes v. caduce. (J.D. Hooker.) /arztium St. Hilaire, Fl. Bras. 
Mer. 1, 295. 


H. tiliaceus St. Hilaire, /.c—Small freely branching tree. Leaves orbicular- 
cordate on long petioles, about 5x5 in., shortly acuminate, entire, hoary beneath, 
glabrous above, palmately 7—9-nerved, the three middle nerves with a gland near the 
base. Stipules large, caducous. Peduncles short, in the upper axils or at the ends 
of the branches, with one to several flowers. Involucre campanulate, about half the 
length of the calyx, divided to the middle into 10-12 acute lobes. Calyx tomentose, 
nearly an inch long, with lanceolate lobes. Petals large, yellow, often with a brown 


centre. Capsule about an inch in diameter, opening into 5 valves, 3 naked seeds toa 


cell—A tree of great importance to the natives, who called it Aaw. A most valuable 


TOUCHARDIA LATIFOLIA, OLONA, 


FIG. 81. 


FIG. 52. HIBISCUS TILIACEUS. HAU. 


Flawaiian Raspberry. 135 


shade tree common near the shore on all the islands of the group; the light, tough 
wood serves for adz handles and to unite the outrigger to a canoe; the bark furnishes 
an excellent fibre for ropes and was often beaten into kapa of good quality. (Fig. 82.) 


Thespesia Correa, in Ann. Mus. Par. ix., 290, t. 8, f. 2—Bracteolz 3-5, parve 
v. deciduz. Calyx truncatus, minute v. setaceo-dentatus rarius 5-fidus. Columna 
staminea infra apicem dentatum (nunc antheriferum) filamenta o exserens. Ovarium 
5-loculare, loculis pauciovulatis; stylus apice clavatus, 5-sulcus v. in ramos breves 
stigmatiferos erectos clavatos subdivisus. Capsula lignoso-coriacea, loculicide 5-valvis 
y. fere indehiscens. Semina obovoidea, glabra v. tomentosa; cotyledones quam maxi- 
me complicate, radiculam brevem subrectam fere includentes, seepius nigro-punctate. 
—Arbores v. herbe elatee. Folia integerrima v. angulato-lobata. Flores szepius flavi, 
speciosi. Calyces non conspicue punctati, sed cotyledones insigniter nigro-punctatee 


im Ds populnea et (i Vampas. (a. é& B:) 


T. populnea Correa, /.c.— Tree 25-40 ft. high. Leaves roundish, cordate, 
acuminate, entire, 4-5 in. in diameter, glabrous. Peduncles and petioles equal. 
Involucral bracts lanceolate, equalling the calyx, soon deciduous. Calyx truncate. 
Petals obovate-oblong, 2 in., yellow turning dark during the day. Capsule oblate 
spheroid, almost woody, apparently indehiscent, but opening later. The mz/o of the 
natives, the same in Samoa, Tahiti and Tonga. Like the Polynesian race, it ranges 
from Hawaii to Madagascar. ‘The wood is very beautiful, and the bark serves much 
the same purposes as the hau. 


Rubus Linn. Gen. n. 632.—Calycis explanati tubus brevis, latiusculus, 


ebracteolatus; lobi 5, persistentes. Petala 5. Stamina o, rarissime definita, ori 


calycis inserta, filamentis filiformibus, antherze didymz. Discus tubum calycis 
vestiens. Carpella «, rarius pauca, receptaculo convexo inserta; styli subterminales, 
filiformes, stigmatibus simplicibus v. capitellatis; ovulo in loculis 2 (altero szpe 
minimo) collateraliter pendula. Achznia drupacea, rarius sicca, seepissime recep- 
taculo conico sicco v. spongioso congesta, I-sperma. Semen pendulum, testa mem- 
branacea; cotyledones plano-convexz; radicula brevis supera.—Herbe repentes vy. 
frutices plerumque sarmentosi et aculeati, glabri tomentosi v. pubescentes, rarius cani 
v. glandulosi. Folia sparsa alterna simplicia lobata, 3-5 foliolata v. imparipinnata. 
Stipulz petiolo adnate. Flores in paniculas corymbosve terminales et axillares 
dispositi, rarius solitarii, albi v. rosei. Fructus sepe edulis. (H. & B.) 


R. macraei Gray. Bot. U. S. Exped., p. 505, pl. 57.—Stem climbing 10-25 
feet, often 2 in. thick at base. Stem prostrate or rambling. Leaves on stout petioles 
an inch or more long, pinnately trifoliate, but those of the short flowering branches 


FIG. 53. AKALA. HAWAIIAN RASPBERRY. 


Material for Tapa. 137 


entire or three-lobed; leaflets coriaceous, gray-tomentose and net-veined beneath, 
broad ovate, the terminal one subcordate, acuminate or somewhat obtuse, bluntly 
inciso-lobate and dentate. Stipules linear-lanceolate. Flowers numerous, subpani- 
culate. Calyx tomentose, 5-parted nearly to the base, the sepals broadly ovate, more 
or less serrate in the upper half. Petals as long as the sepals, obovate, pinkish. 
Achenes very fleshy, 11%4-2 in.—‘“‘the fruit attains a diameter of two inches, red, some- 
times yellow, very juicy and not disagreeable, but laxative if eaten in quantity.” This 
polymorphous plant needs more examination of fresh specimens in the field, as the 
specific distinctions are at present badly mixed. Both Dr. Gray and Hillebrand 
depended on herbarium specimens for their descriptions, which do not correspond with 
my field notes; but here this is of less importance, as both species seem to have been 
used for kapa-making. When either of the species is cultivated marked changes 
occur, and the plant becomes less fruitful. While the fibre is good and strong, it is 
not as good as waoke, mamaki or oloa which were quite as accessible. The native 
name akala applies to both species. (Fig. 83.) 


Celtis Linn. Gen. n. 1143.—Flores polygami, fertiles hermaphroditi v. rarius 
foeminei, masculi cum v. absque rudimento ovaril, in ramis hornotinis cymosi fas- 
ciculati v. fertiles solitarii. Perianthium alte v. fere ad basin 5-rarius 4-partitum, 
segmentis imbricatis. Stamina 5, rarius 4, filamentis erectis v. vix incurvis demum 
exsertis; antherz ovate. ‘Torus szepius dense pilosus, vix tamen in discum expansus. 
Ovarium sessile; stylus centralis, 2-partitus, ramis plumoso-stigmatosis divergentibus 
indivisis 2-fidisve; ovulum ab apice pendulum, anatropum. Drupa succulenta, ovoidea 
v. globosa, interdum 2-carinata, eequalis, endocarpio osseo szpius rugoso. Semen 
subconforme, testa membranacea; albumen o v. perparcum; embryo curvus, cotyle- 
donibus latissimis sibimet applicitis concavo-subcuculatis v. transverse subplanis et 
incurvo-replicatis, interdum corrugatis, radicula sursum incurva incumbente v. cotyle- 
donibus amplexa.—Arbores fruticesve inermes yv. spinosi. Folia alterna, annua v. 
perennantia, serrata v. integerrima, pennivenia et 3-(rarius 4.5-) nervia, basi sepe 
obliqua; stipulz laterales, liberee. Cymule mascule v. androgyne laxe v. fasciculi- 
formes, axillares v. ad basin innovationum; flores fertiles in axillis superioribus 


solitarii v. pauci, longius pedicellati. (H. & B.) 


C. vestimentaria is the specific name on the specimens sent me, but this 
does not appear in the Kew catalogue, so I am unable to cite the actual species; but 
this is less important, as its use does not extend into the Pacific region. 


138 Ka Hana Kapa. 


We turn from the fibre-producing plants to those used for dyes, and we shall 
find the old Hawaiians were as well provided with means to add variety and some- 
times beauty to the tissue when beaten out, as with good quality and variety of fibre- 
producers. The reader need only turn to the /ac szmzle plates to be convinced that 
the Hawaiians not only had the raw material but used it with skill and taste, perhaps 


not to be expected in a remote island group. 


Aleurites Forst. Char. Gen. 111, t. 56.—Flores monoici v. subdioici, petali- 
feri. Fl. ¢: Calyx junior globosus, clausus, per anthesim in lobos 2-3 valvatim 
ruptus. Petala 5, calyce longiora. Stamina 8-20, receptacula conico affixa, 5 exteriora 
petalis opposita glandulis parvis alterna, filamentis liberis brevibus v. elongatis; 
anthere erecta, adnate, loculis parallelis longitudinaliter dehiscentibus. Ovarii 
rudimentum o. Fl. 9: Perianthium maris. Discus inconspicuus, v. glandule mi- 
nutz petalis alterna. Ovarium 2-5-loculare; styli in ramos 2 crassiuscule lineares 
divisi; ovula in loculis solitaria. Fructus magnus drupaceus, indehiscens, exocarpio 
carnoso haud crasso, endocarpio crustaceo v. duro 2-5-loculari v. abortu 1-loculari. 
Seminum testa crassa, lignosa; albumen crassum, durum; embryo rectus, cotyledoni- 
bus latis planis——Arbores indumento stellari v. subsimplici. Folia alterna, longe 
petiolata, ampla, basi 5—7-nervia, integerrima vy. 3-loba, petiolo apice 2-glanduloso. 
Flores laxe cymosi, cymis ad apices ramorum paniculatis. 


A. moluccana Willd. DC. Prod. xv, sect. ii, p. 723.— Tree 40-60 ft. high, 
with soft wood, spreading branches pale-tomentose at the end. Leaves 6-8 in. long, 
varying in shape, either undivided or 3-5-7-lobed, the lobes triangular, acuminate, 
the base rounded or cordate, silver-green with the rib and nerves on the under side 
tomentose. Corymb 4-8 in. long, with subulate bracts, the pedicels longer than the 
calyx. Female calyx twice the size of the male. Petals white with a greenish tinge, 
oblanceolate in the d flower, and bearded at the base, linear oblong inthe 2. Stamens 
about 18, filaments hispid, anthers erect, introrse. Ovary hairy, 2-celled. Fruit 
fleshy, coriaceous, subglobose, about 2 inches in diameter, often double. 

Common on all the islands, especially on the lower slopes of the mountains, 
which are brightened by its silvery foliage. Known to all Polynesians as Kukui or 
Tutui, to others as the Candle-nut tree, from the ancient use of the roasted nuts 
strung on palm-leaf midribs as candles, a custom in use forty years ago in the grass 
house of the country. From the acrid juice from the rind of the nut they prepared 
a black dye, also used in tatuing; but the soot of the burning nut was a better black. 
The bark furnished a brown dye very common and durable. The fz/a/z or gum exud- 
ing from the stem was a good adhesive, and the oil expressed from the nuts was used to 


KUKUI,. 


ALEURITES MOLUCCANA, 


FIG. 84. 


140 Ka Hana Kapa. 


burn in the stone lamps, and as a vehicle for the paints, for which, however, it was not 
so good as the oil of the kamani; again this oil was used with that of the coconut to 
waterproof the riding pa’u. There were on these islands several groves of kukui 
greatly regarded if not always in a religious light; such were that near the East end 
of Molokai where Lanikaula had his hermitage, and where it was a custom to seal 
vows by driving a lock of the votary into the soft trunk with a sharp stone, and the 
grand clump of gnarled and ancient stems near Kilauea, Kauai, where chiefs and 
people formerly held council together on important occasions. For domestic use in 
the olden time perhaps the kukui may be placed next in importance to the coconut. 

In the southern islands, especially the Samoan, another tree of the same family 
held an important place as a dye, as has already been mentioned in the account of the 
kapa-making of that group. It occurs in tropical Asia, the Malayan peninsula and 
most of the islands of the south Pacific, and as it isa genus of a single species I 
include it here with the Hawaiian Flora, as I have the Antiaris, for its importance as 
a dye of many Polynesian kapas. 


Bischofia Blume. Bijdr., 1168.— Flores dioici, apetali. Discus 0. Fl. ¢: 
Sepala 5, imbricata, concava, supra antheras fere cucullata. Stamina 5, filamentis 
brevibus; antheree magne, loculis parallelis distinctis medium versus affixis longitu- 
dinaliter dehiscentibus. Ovarii rudimentum breve, latum. FI. 2: Sepala leviter 
concava, caducissima. Staminodia parva fere glanduliformia interdum adsunt ad 
basin segmentorum. Ovarium 3-rarius 4-loculare; styli lineares cressi, integri, a basi 
papillosi; ovula in loculis gemina. Fructus subbaccatus, globosus, indehiscens, 
sepius 3-locularis, exocarpio carnoso, endocarpio pergameneo. Seminum testa crus- 
tacea (in vivo extus pulposa?); albumen carnosum; embryo rectus, cotyledonibus 
planis latis——Arbor procera. Folia alterna, 3-foliolata, foliolis petiolulatis majuscu- 
lis, saepius crenatis. Racemi laterales, presertim in ¢ paniculato-ramosi. Flores ¢ 
secus rhachin sparsi v. subfasciculati, brevissime pedicellati, 2 longius pedicellati. 


B. javanica Blume. Bijd., 1168. — A round-headed more or less deciduous- 
leaved quite glabrous tree, 30-40 ft.; bark smooth. Leaves very variable; petiole 
1-6 in.; leaflets 3-5 in., from ovate to oblong-lanceolate, acuminate, repand-toothed, 
petiolules $-} in. Panicles very slender, flowers green, males minute on short slender 
pedicels, fem. § in. diam. on stout pedicels. Fruit fleshy on long, thickened pedicels, 
smooth, size of a pea, blue-black. Seeds smooth, shining, testa, splitting longitudi- 
nally, dark brown. (J. D. Hooker.) Five species have been reduced to two in Index 
Kewensis. Fig. 85. The color of this dye as used in Samoa is shown on Plates 23-27. 


FIG. 85. BISCHOFIA JAVANICA. 


142 Ka Hana Kapa. 


Curcuma Linn. Gen. n. 6.—Calyx tubulosus, 2-3-dentatus, interdum hinc 
breviter fissus. Corolle tubus brevis v. elongatus, superne dilatatus; lobi ovati v. 
oblongi, subzequales v. posticus longior breviterque acuminatus. Staminodia lateralia 
petaloidea, basi cum filamento anguste petaloideo, plus minus connata, petalum 
3-fidum lobo medio antherifero simulantia; labellum paullo majus, superne dilatatum, 
integrum emarginatum v. 2-fidum. Anthera in filamento petaloideo sessilis; loculis 
contiguis connectivo latiore basi in calcara 2 producto. Ovarium 3-loculare, loculis 
w-ovulatis; stylus filiformis, stigmate ultra loculos antherz erecto v. inflexo, equali 
v. dorso gibbo antice 2-labiato ciliato. Capsula globosa, pericarpio membranaceo 
sub-3-valvi. Semina ovoidea vy. oblonga, levia, arillo nunc brevi, nunc lacero laciniis 
semen superantibus; embryo linearis, rectus, tenuis v. crassiusculus.—Rhizoma cras- 
sum, fibris tuberiferis. Caules erecti, 1-10 pedales. Folia sepe ampla. Florum 
thyrsi densissimi, strobiliformes, oblongi v. elongati, bracteis concavis v. cucullatis 
amplis imbricatis apice rotundatis, superioribus sepe vacuis coloratis pulcherrime 
comosis. Flores sub quaque bractea 2-0, sessiles, singuli bracteola spathacea stipati. 
Fructus intra bracteas inclusi. (H. & B.) 


C. longa Linn.—The O/ena of the natives. Tuber oblong, palmate, exuding 
deep orange juice when pressed, which was used as a favorite but not very durable 
dye. Stem short; leaves few, elliptico-oblong, 8-12 X 3-4 in. acuminate, on sheathing 
petioles of nearly their length. Spike terminal. The Turmeric occurs in open glades 
on all the principal islands, but is much less common than formerly, and is sought 


by the natives for medicinal purposes. 


Abutilon Gertn. Fruct., ii, 251, t. 135.—Bracteole 0. Calyx 5-fidus. Col- 
umna staminea apice in filamenta % diversa. Ovarii loculi 5-0, verticillati, 3-9-ovu- 
lati; styli rami totidem, filiformes v. clavati, apice stigmatosi. Carpella matura, basi 
coalita v. omnino secedentia, superne rotundata divergenti-rostrata v. angulata, 2-val- 
via, intus nuda. Semina subreniformia, superiora szpius adscendentia, inferiora 
pendula v. horizontalia.—Herbe v. frutices, rarius arbores, tomento szpius molli. 
Folia seepius cordata, angulata v. lobata, rarius angusta. Flores plerumque axillares, 
colore vario szepe luteo. (H. & B.) 


A. incanum G. Don.—A low decumbent underbrush, 1-2 ft. high, covered 
with a soft, light gray pubescence. Stipules filiform, short. Leaves cordate-ovate, 
acuminate, crenate or serrate, canescent on both sides, gradually decreasing in size 
upward, the lowest 2134 in., on petioles of 1-134 in. Flowers axillary and solitary 


/ 


on pedicels of %-1'% in., which are articulate near their ends. Calyx canescent, 


FIG. 86. ABUTILON INCANUM. MAO, 


144 Ka Hana Kapa. 


114-2 in. deeply 5-cleft into ovate lobes, petals blue, obovate. Carpels 5, canescent, 
4-6 lines high, connate about three-quarters of their length into a columnar subtrun- 
cate capsule, dehiscent at the apex and along the dorsal sutures. Seeds in each 
carpel 3, superposed, globose, pubescent. The native name is Jao, and is the “native 
cotton”? mentioned by some travelers (p. 50) as used for dyeing a rather light green, a 
decoction of the fresh leaves being used. It is rather common on low dry land. 
Green seems to have been little favored by the old natives, for it is seldom seen on the 
kapa; it may, however, fade like many vegetable greens. 


Morinda Linn. Gen. n. 235.—Flores hermaphroditi, rarius abortu unisexu- 
ales, plerumque mediantibus calycibus in capitula confluentes. Calycis tubus ‘urceo- 
latus v. hemisphericus; limbus brevis, truncatus v. obscure dentatus, persistens. 
Corolla infundibularis v. hypocraterimorpha, tubo brevi fauce glabra v. pilosa; limbi 
lobi 5, rarius 4 v. 6-7 coriacei, valvati. Stamina 5, rarius-4—7, fauci corolle inserta, 
filamentis brevibus; antherz medio dorso affixe, lineares v. oblonge, utrinque obtuse, 
incluse v. exserte. Discus tumidus v. annularis. Ovarium 2- v. (interdum imper- 
fecte) 4-loculare; stylus inclusus v. exsertus, glaber v. pilosus, ramis 2 brevibus v. 
elongatis linearibus; ovula in loculis solitaria, septo infra medium v. basin versus 
loculi inserta, adscendentia, anatropa v. amphitropa. Syncarpium succulentum, poly- 
pyrenum, pyrenis cartilagineis v. osseis I-spermis, interdum in putamen 2-4-loculare 
concretis. Semina obovoidea v. reniformia, testa membranacea, albumine carnoso; 
embrvo teres, radicula infera—Frutices v. arbores, erecti v. scandentes, glabri v. 
rarius pubescentes, ramulis teretibus v. obscure 4-gonis. Folia opposita, rarius 
3-natim verticillata, sepius membranacea. Stipule utrinque solitariz, cum petiolis 
in vaginam connate. Capitula longe v. breviter pedunculata, axillaria v. terminalia, 
nunc umbellata. Flores albi. 


M. citrifolia Linn.—A small glabrous tree with angular branches. Leaves 
broadly ovate, 6-8 X 4-6 in., on short petioles. Stipules broad and rounded, 4-6 lines 
connate below into a loose sheath which encloses the peduncle. Flower heads on 
short bractless peduncles placed opposite a leaf, their own supporting leaves remain- 
ing undeveloped. Calycine limb truncate. Corolla white, tubular or funnel-shaped. 
Style shortly bifid, as long as the tube. Syncarpium several inches in diameter. 
The xonz of the natives formerly cultivated as a dye plant, and still used to some 
extent as medicinal. When fully ripe the fruit is used as a poultice, but has a most 
feetid smell. The wood when fresh is intensely yellow, and the root is especially 
suitable for dyeing that color. The bark yields a red dye. 


FIG. 87. MORINDA CITRIFOLIA, LINN. NONI. 


146 Ka FHlana Kapa. 


Gardenia Linn. Gen. n. 296.—Calycis tubus ovoideus vy. obconicus; limbus 
varius, tubulosus spathaceus lobatus v. partitus, seepius persistens. Corolla hypo- 
craterimorpha campanulata v. infundibularis, tubo calycem longe superante, fauce 
sepissime glabra; limbi lobi 5-9, patentes v. recurvi, breves v. elongati, stricte con- 
torti. Stamina 5-9, fauci corolle inserta, filamentis brevissimis v.0; anthere sessiles 
v. subsessiles, dorso affixe, lineari-oblonge, acute v. obtuse, inclusez vy. breviter 
exserte. Discus varius, sepius annularis v. conicus. Ovarium 1-loculare v. rarius 
placentis axin attingentibus faciebus oppositis cohzrentibus spurie 2-loculare; stylus 
crassus, apice clavatus v. fusiformis, teres v. sulcatus, vertice integro v. 2-fido lobis 
intus stigmatosis; ovula numerosa, placentis 2 parietalibus longitudinaliter stipitatis 
seriatim immersa, horizontalia. Fructus sessilis, oblongus, ovoideus, cylindraceus v. 
pyriformis, teres v. costatus, coriaceus v. carnosus et irregulariter ruptus, v. endo- 
carpio indurato 2-5-valvi. Semina plurima, szepissime cum placentis pulposis in 
massam loculo conformem conglobata, horizontalia, compressa v. turgida, obtuse 
angulata, testa coriacea vy. membranacea albumini szpissime corneo adherente; 
embryo mediocris, cotyledonibus latis foliaceis, radicula tereti hilum spectante.— 
Frutices rarissime arbores, glabri pubescentes v. tomentosi, inermes v. rarius spinis 
rectis oppositis armati, ramulis teretibus novellis non raro vernicosis. Folia parva 
v. ampla, opposita, rarissime 3-natim verticillata v. uno pedunculo opposito suppresso, 
membranacea v. coriacea. Stipule intrapetiolares, triangulares, acute v. acuminate, 
spe basi connate. Flores majusculi v. magni, axillares et solitarii, rarissime termi- 
nales v. corymbosi, flavi v. albi. (H. & B.) 


G. Brighamii Mann. Enum. n. 179.—Shrub 6-12 ft. high with dichotomous 
densely leafy branches. Leaves on short petioles, ovate, 1%-41-2'% in., shortly 
acuminate, chartaceous, with prominent straight nerves, shining above, papillose and 
in the young state puberulous underneath. Stipules triangular or truncate, connate 
inside the petioles into a complete sheath. Flowers single, terminal, subsessile. 
Calyx tube quadrangular, shortly produced above the ovary, 4-lobed. Corolla white, 
salver-shaped, 6-lobed. Anthers linear, their apices exserted. Style as long as the 
tube, the 2 clavate branches nearly half as long. Fruit globose, with 4 faint lines, 
about I in. in diameter, coriaceous, indehiscent, tipped with the contracted limb of the 
calyx, 1-celled, with 4 (or 3 or 5) parietal placentas projecting from the endocarp. Seeds 
many in a yellowish pulp with a coriaceous black teste and fleshy albumen. 


G. Remyi Mann. Enum. n. 180.— Tree 30-40 ft. high, the young shoots 
exuding a glutinous substance which covers the leaves like varnish. Leaves obovate- 
oblong, 4-9 2-4 in. on short petioles, shortly acuminate, contracted at the base, 


FIG. 88. GARDENIA REMYI IN FRUIT. 


148 Ka Hana Kapa. 


chartaceous, papillose underneath, prominently nerved. Stipules truncate and 
sheathing. Flowers terminal, single, sessile. Calyx tube angular, the 4-5 lobes 
falciform, dilated towards the obtuse apex, spreading with the plane vertical, 1% in. 
long, equalling or exceeding the corolla. Corolla white with 7-8 obovate-oblong, 
suberect lobes. Anthers enclosed. Fruit 4-5-angled, pyriform, 114-2 in. in both 
diameters. (Fig. 88.) 

Flowers of both species fragrant, and the fruit pulp used for dyeing yellow. 


The native name xanu was applied to G. Remyi, and zawz to G. Brighamii. 


Suttonia (Myrsine) A. Rich. Fl. Nov. Zel., 349, t. 38. — Flores polygamo- 
dioici. Calyx, parvus, 4—5-fidus, persistens. Corolla 4—5-partita v. 4—-5-petala, rarius 
brevius 4—5-fida, laciniis patentibus recurvisve, imbricatis rarius valvatis. Stamina 
4-5, filamentis brevibus, v. subelongatis, basi petalorum insertis; anther breves. 
Ovarium globosum y. ovoideum, in stylum brevem v. elongatum v. fere obsoletum 
attenuatum, stigmate simplici capitato ineequaliter lobulato v. dilatato fimbriato v. 
lobato; ovula numerosa v. pauca, placente immersa. Fructus pisiformis, siccus v. 
subcarnosus, I-spermus. Semen globosum, sessile, basi intrusum, reliquiis placentz 
indutum, albumine corneo levi v. leviter ruminato; embryo elongatus, cylindraceus, 
“saepius arcuatus v. sigmoideus. Frutices v. arbores glabri, rarius pubescentes v. 
tomentosi, ramulis szpe crassiusculis. Folia coriacea, integerrima, rarius serrulata. 
Flores parvi, in fasciculos axillares sessiles v. pedunculatos dispositi, sessiles v. 
breviter rarius longius pedicillati, bracteati, bracteis szpe imbricatis deciduis. Flores 


rarissime 5-7-meri. (H. & B.) 


S. Lessertiana A. DC. Prod. viii, 96.— Tree 20-50 ft. high, with a rough, 
tuberculate bark. Leaves crowded at the ends of the branches, thick coriaceous 
opaque, the veins hardly prominent and connected by a continuous marginal nerve, 
glabrous on both faces, gradually merging in a short petiole. Flowers in the axils 
of the leaves and on projecting spurs of the bare branches in fascicles of 2-7, pedicels 
with short bracts at base. Calyx deeply 5-7-parted, the lobes somewhat acute. 
Corolla 114-2 lines, twice the length of the calyx, yellowish, with reddish dots, thin, 
deeply divided into 5-7 lanceolate lobes. Stamens little shorter than the petals, the 
broad ovate anthers emarginate at the base. Ovary with 3-4 ovules. Stigma on a 
short style, capitate, on the fruit 5-laciniate or fimbriate. Drupe dry, rather globose, 
reddish with a chartaceous pyrena and a single round seed. . (Fig. 89.) 

By the natives this and several other species are called £o/ea, and formerly 
they extracted a red dye from the bark, or as others claima black dye. ‘This tree pre- 
fers the higher regions of the mountain slopes and is common on Konahuanui, Oahu. 


FIG. 89. SUTTONIA LESSERTIANA. KOLEA. 


150 Ka Hana Kapa. 


Cordia Linn. Gen. n. 256.—Calyx tubulosus vy. campanulatus, striato-costa- 
tus v. laevis, apice 3-5-dentatus v. dentibus cohzrentibus demum varie fissus v. calyp- 
tratus, fructifer sepe auctus drupa tamen brevior v. vix eam excedens. Corolla 
infundibularis hypocrateriformis v. campanulata lobis seu angulis 5 rarius 4 v. 6-%, 
in alabastro varie plicatis v. planis, imbricatis v. subcontortis. Stamina tot quot 
corolla lobi, tubo eequaliter v. inezequaliter affixa, exserta v. inclusa; anthere ovate 
oblong v. lineares, sagittate v. hastate. Ovarium 4-loculare; stylus elongatus, 
2-fidus, ramis breviter v. alte 2-fidis, stigmatibus capitatis v. clavatis; ovula erecta, 
medio infra medium vy. ima basi lateraliter affixa. Drupa calyci persistenti, imposita 
y. eo cincta v. subinclusa, putamine duro seepe osseo crassoque, loculis 1-spermis 4 v. 
abortu paucioribus. Semina ascendentia, exalbuminosa; cotyledones nunc crass 
irregulariter plicatissime, nunc szpius tenues latissime plicisque numerosissimis 
flabellatze; radicula brevis.—Arbores fruticesve, indumento seepissime scabro. Folia 
alterna v. rarius hine inde subopposita, petiolata, integerrima v. denta. Flores ses- 
siles, nune in cymas dichotomas ramis scorpioideis, nune in spicas cylindraceas v. 
capitula densa dispositi, seepius aurantiaci v. albi, nunc maxim, nunc parvuli corolla 
calycem vix excedente. (H. & B.) 


C. subcordata Lam. DC. Prod., ix, 477.—Tree 30-40 ft. high with a broad 
crown. Leaves ovate or subcordate 5-6 3-4 in., on petioles of 1-1% in., acuminate, 
entire or wavy, glabrous, excepting slight tomentose patches in the axils of the prin- 
cipal veins. Flowers in short terminal or lateral cymes. Calyx 5-6 lines, coriaceous, 
irregularly and obtusely 3-5-toothed. Corolla large, campanulate, orange-colored, 
tube twice the length of the calyx, the broadly expanded limb 5-7-lobed, lobes 
rounded, imbricate-contorted, one lobe external. Style as long as the tube. Drupe 
ovoid, 1-1% in. enclosed within the calyx. Hawaiian fou, Tahitian /ow, names indif- 
ferently applied to either of several species. The wood is soft, durable, easily worked, 
and very beautiful. From the leaves, as we have seen in Banks’ account (p. 12), is 
made the fine crimson dye with the juice of the fig. So far as I know the leaves of 
the present species are equally good for the purpose with any of the southern species. 
C. Sebestena is cultivated in Honolulu, and flowers all the year. 


FIG. g0, CORDIA SUBCORDATA, KOU. 


152 Ka Hana Kapa. 


Dianella Lam. Dict., ii, 276—Perianthium marcescens, non tortum, demum 
sepius deciduum; segmenta distincta, subaequalia, sub anthesi patentia, oblonga 3-7- 
nervia. Stamina 6, perianthio breviora, hypogyna y. sepius 3 interiora ima basi 
segmentorum affixa, filamentis apice v. medio v. fere a basi carnoso-incrassatis; 
anthere oblongo-lineares, erecta v. demum recurve v. replicate, basi inter lobos 
basales affixe, loculis poris terminalibus seepe in rimas introrsum continuas dehis- 
centibus. Ovarium sessile v. brevissime stipitatum, obtusum; stylus filiformis, stig- 
mate parvo; ovula in loculis « (4-8). Fructus succulentus, globoso-3-dymus v. 
ovoideo-oblongus, indehiscens. Semina in loculis solitaria v. pauca, ovoidea v. com- 
pressiuscula, testa nigra crustaceo-nitida; embryo linearis, rectus v. curvulus, albu- 
mine carnoso parum vy. dimidio brevior—Rhizoma sape ramosum v. stoloniferum, 
caule erecto rigido cum pedunculo sepe pluripedali. Folia prope basin caulis conferta 
v. secus partem inferiorem approximata, disticha, vaginis equitantibus, lamina longe 
lineari, in parte superiore caulis pauca, vaginis brevibus, laminis parvis, radicalia 
pauca y. ad vaginas reducta. Flores ceerulei, pedicellati, nutantes, laxe cymosi, cymis 
in panicula terminali ampla laxa dispositis, pedicellis sub flore articulatis. Bractez 


parvee scariosz v. 0. 


D. nemorosa Lam. Ency., ii, 276. Stem short. Leaves stiff, 114-3 ft. long, 
'%-1 in. broad at the base, entire, closely nerved with a keeled midrib. Panicle as 
long as the leaves or longer, peduncle leafy, the foliaceous bracts quickly diminishing 
in size, the branches ascending, twice divided and drooping at the ends. Pedicles 3-6 
lines. Perianth pale lilac, campanulate, 3-4 lines long, deeply parted into subequal 
oblong 5-nerved segments. Berry light blue (mazarine), obovoid, 4-5 lines. Seeds 
2-3 in each cell, ovoid, compressed and margined. The wz of the natives. Flowers 
have a delicate scent, and the juice of the berries was utilized for dyeing pale blue, a 
color more permanent than would be supposed. The plant is common on the lower 
hills to a height of over 4000 ft. 


FIG. 9I. DIANELLA NEMOROSA. UKI. 


154 Ka Hana Kapa. 


Ochrosia Juss. Gen. 144.—Calyx 5-partitus, eglandulosus, segmentis obtusis. 
Corolla hypocrateriformis, tubo cylindraceo ad stamina parum dilatato, fauce esqua- 
mata; lobi 5, contorti, dextrorsum obtegentes. Stamina supra medium tubi inclusa; 
antherz lanceolate, loculis basi inappendiculatis. Discus o v. brevissime annulatus. 
Ovarii carpella 2 distincta v. base connata; stylus filiformis; stigma oblongum, 
apiculo brevi 2-fido; ovula in quoque carpello 2-6, 2-seriata, ad utrumque latus 
placentz prominentis superposita. Drupz 2, divaricate, interdum basi connate, v. 
abortu solitariz, epicarpio tenuiter carnoso, endocarpio crasso duro nunc osseo seepius 
a dorso compresso, sulco ventrali plus minus diviso. Semina solitaria v. 2 placenta 
intrusa duplici separata, plano-compressa, testa membranacea; albumen o (v. carno- 
Arbores. Folia verticil- 


sum?); cotyledones magne, plane, radicula brevi supera. 
lata v. rarius opposita, v. sparsa, tenuiter et crebre pennivenia. Cyme ad apices 
ramorum pedunculate, foliis ultimis alterna, demum laterales. (H. & B.) 


O. sandwicensis Gray, in Proc. Am. Acad., V, 333.—A much branching gla- 
brous shrub, 6-12 ft. high. Leaves 3 or 4 in a whorl, elongate-oblong, 4-6 X 1%-2 in., 
on petioles of 2-1 in., shortly acuminate, chartaceous, shining above, the close and 
faint nerves perpendicular to the rib and parallel and united by a distinct intramar- 
ginal nerve. Cymes compound, 2-3 in. long, divaricatingly branching, the angular 
peduncle %-1% in., the lateral pedicels %-1 line, the median flowers subsessile; the 
bracteoles short ovate to dentiform. Calyx 1%-2 lines, with acute lanceolate teeth. 
Corolla yellowish, hairy inside, dilated below the throat, lobes linear-oblong, equal. 
Stamens inserted above the middle, with short hairy filaments and elongate included, 
anthers. Stigma included, clavate. Disk of two glands. Drupes dry, yellow, ellip- 
soid or ovoid-elongate. Seeds one on each side of the placenta and peltately attached 
to it. Testa thin chartaceous. Albumen hard fleshy. Embryo axillary, shorter than 
the albumen. 

Becoming quite rare on all the islands; the Aoo/ez of the natives who use the 
bark of stem and root to dye yellow. This plant is often confounded with the related 
Rauwolfia sandwicensis DC. 


FIG. 92, OCHROSIA SANDWICENSIS. HOOLEI. 


156 Ka Hana Kapa. 


Eugenia Linn. Gen. n. 616.—Calycis tubus globosus ovoideus turbinatus v. 
elongatus, supra ovarium haud v. plus minus productus; limbi segmenta 4, rarissime 
5, distincta, nunc ampla imbricata, nunc brevia v. in margine truncato vix prominula. 
Petala 4, rarissime 5—© v. 0, patentia distinctaque, v. conniventia et in calyptram plus 
minus connata. Stamina %, ©-seriata, libera, v. basi in phalanges 4 presertim in 
alabastro obscure connata, filamentis filiformibus; anthere versatiles, sepius parve, 
loculis longitudinaliter dehiscentibus szepissime parallelis rarius divaricatis. Ovari- 
um 2-rarissime 3-loculare; stylus filiformis, stigmate parvo; ovula in loculis o, 
placentee e septo parum prominenti affixa, sapius incurvo-adscendentia, in Sect. 
Myrciarta 2-4. Bacca subdrupacea v. pulposa, rarius subsicca et fibroso-cortica, 
salycis limbo persistente coronata v. rarius limbo deciduo truncato. Semina pauca, 
seepius 1-4, globosa v. mutua pressione varie compressa, testa membranacea v. carta- 
laginea; embryo crasso-carnosus, radicula brevi, cotyledonibus crassis plus minus 
conferruminatis v. distinctis hemispheericis v. heteromorphis.—Arbores fruticesve, 
glabre v. rarius tomentose vy. villosa. Folia opposita (in una specie alterna?), 
coriacea vy. membranacea, pennivenia. Inflorescentia nunc centripeta, pedicellis 1-floris 
oppositis, ad axillas solitariis fasciculatis v. in racemum brevem (ramum aphyllum) 
dispositis, nunc centrifuga cymis terminalibus densis v. in paniculas terminales 
lateralesve trichotomas dispositis. Bractze et bracteole sepius parve caducissimeque, 
rarius foliacez persistentes. (H. & B.) 


A large genus of more than 500 species, the species not always clearly defined. 


E. malaccensis Linn.—A glabrous tree 25-50 ft. high. Leaves opposite, 
elliptico- or obovato-oblong, 6-7 X 24-3 in. on petioles of % in., acuminate, dark green 
and shining, not dotted, the sinuate marginal nerve distant from the edge. Cymes 
axillary, usually cauline, short, about 2 in. long. Calyx turbinate, produced beyond 
the ovary with 4 rounded lobes.. Petals and stamens red (in one variety white). 
Fruit obovate, 2-3 in. diam. deep crimson (or white). Seed generally single. Inthe 
valleys and the lower forest zone on all the islands. The bark was an important dye 
and with the allied species -. sandwicensts was used for tanning. Native names of 
the two species, Ohza at and Ohza ha. 

The ohia ai (edible ohia) was almost the only Hawaiian fruit before the com- 
ing of the foreigner. When or how it was originally introduced no one knows, but it 
still offers its grateful if rather insipid fruit to the traveler, and is found ripe at 
almost any season in some of the well-watered valleys, while in others still in the 
flowering stage. It is, however, far more attractive to the eye than to the taste. 


FIG. 93. EUGENIA MALACCENSIS. OHIA AI. 


158 Ka Hana Kapa. 


Bixa Linn. Gen. n. 654.— Flores hermaphroditi. Sepala 5, imbricata, de- 
cidua. Petala 5, ampla, contorto-imbricata. Stamina © toro crasso inserta; antherz 
ad medium induplicate ibidemque rimis brevibus falso terminalibus dehiscentes. 
Ovarii placente 2, parum prominule, « ovulate; stylus elongatus, estivatione 
recurvus; stigmate brevissime 2-lobo. Capsula dense echinato-setosa v. rarius nuda, 
2-valvis, valvis crassis medio placentiferis; endocarpio membranaceo, solubili. Semina 
obovoidea, funiculis apice dilatatis; testa laxa, subcarnosa, ad raphem sulcata; cotyle- 
dones late, apice sepe incurve.—Arbuscule succo colorem luteum vy. rubrum pre- 
bente scatentes. Folia ampla, integerrima, palminervia. Flores terminales paniculati, 


speciosi. Pedicelli sub calyce 5-glandulosi. (H. & B.) 


B. orellana Linn.—Tree 10-12 ft. high. Leaves glabrous, cordate or ovate, 
acuminate. Capsule covered with setose prickles. 

This shrub was formerly cultivated here for the red dye obtained by macerat- 
ing the seed pulp, and has become naturalized in places. This is the Arnotto said to 
be a favorite coloring matter used by dairymen. I found it growing apparently wild 
in 1864 in Nuuanu and on the barren plains east of Kawaiahao church. A native of 
tropical America. (Fig. 94.) 

This is another of the contributions that have reached these islands from the 
shores of tropical America. Whether it came with the Azgemone mexicana which 
was already naturalized in the days of Captain Cook we cannot say, for that careful 
observer did not notice it. The pulpy seeds are eaten by birds through whose 
alimentary canal they pass without injury, and they may have come attached to 
the hairy or woolly hides of domestic animals imported later. I believe that the old 
Hawaiians used the plant as an useful dye at least a century ago. My observa- 
tions convince me that with the diminished use the Bixa is disappearing from the 
group; it seems to be confined to a few gardens where it is cultivated for its pretty 
leaf and conspicuous fruit pod. 


In addition to the following plants here described the old Hawaiians made use 
of two ferns, the Paladé (Davallia tenuzfolta) and the Amaumau (Sadleria cvatheotdes). 
The use of the former has been mentioned by Malo as a red dye applied in the zm 
or native underground oven (p. 12); the latter (the name also applies to a god who 
dwelt among the ferns) was used both for sizing the mamaki fibre and for a red dye, 
The descriptions in brief of these ferns are as follows :— 


FIG. 94. BIXA ORELLANA. ARNOTTO, 


160 Ka Hana Kapa. 


Davallia (Stenoloma Fée) tenuifolia Swartz. Hook. Spec. Fil., p. 186.— 
Rhizome stout, creeping, densely fibrillose; stipes strong, erect, polished, naked, 
dark brown, 6-12 in. long; fronds 12-18 X 6-9 in., ovate, quadripinnatifid; lower pinnze 
ovate-lanceolate, 4-6 2-3 in.; pinnules lanceolate, their segments cut down to the 


FIG. 95. DAVALLIA TENUIFOLIA. PALAA. 


rachis below with toothed, cuneate lobes, 1-1% lines across at the apex; texture 
subcoriaceous, both surfaces naked, the upper shining; sori terminal, usually solitary, 
often rather broader than deep. ‘The commonest of Hawaiian ferns. Native name 


Palad. ‘The leaves furnished the red dye. (Fig. 95.) 


ferns as Dyestuffs. 161 


Sadleria cyatheoides Kaulf. Enum. Fil., p. 162.— Trunk 3-10 ft. high. 
Stipe 1-2 ft. long, naked except at the base where it is densely covered with red- 
brown scales. Fronds 2-6 ft. long, 9-18 in. broad, bipinnatifid. Pinnz 30-40 on a 
side, 6-10 %~1 in. cut down to the rachis into very numerous connected linear pin- 


[ 


FIG. 96. SADLERIA CYATHEOIDES. AMAUMAU. 


nule, 3¢-% X % in., acute or bluntish; texture coriaceous; veins immersed and 
inconspicuous. Sori at maturity covering the whole lower surface. Native name 
Amaumau, not Amamau as given by Hillebrand. (Fig. 96.) 


While it is probable that the list of vegetable dye stuffs is not exhausted, I am 
unable to point to any other with certainty, although there are certain native names 
of dyes that may be synonyms of those already enumerated, or apply to unidentified 
plants. 


Memoirs B, P. B. Museum, Vou, III,—11. 


FIG. 97. PELEA ANISATA. MOKIHANA, 


PLANTS USED AS PERFUMES. 


The newly made kapa had an unpleasant odor, as is the case with most felted or 
textile fabrics, and the Hawaiians used many odoriferous plants to stifle the malodor 
of the manufacture. Some of these would not be pleasant to European nostrils, but 
some, as the sandal-wood, are generally liked, and on these islands are much used as 
perfumes to the present day. I shall make the list as small as possible with due re- 
gard to the importance the natives attached to the use of these perfumes, some of which 
are distinctly perceptible after many years in carefully preserved specimens of kapa. 


Pelea A. Gray, in Bot. Amer. Expl. Exp., 339.—Flores polygami. Calyx 
quadripartitus, zstivatione imbricatus, cito deciduus. Petala 4, estivatione valvata, 
mox decidua. Stamina 8: filamenta subulata v. complanata, fl. fert. breviora szpius- 
que antheris (sagittatis) cassis donata. Discus hypogynus brevissimus, integer, seu 
octocrenulatus. Ovarium quadriloculare (loculis petalis oppositis), quadrilobum, 
seepius umbilicatum: stylus centralis: stigma quadrilobum. Ovula in loculis gemina, 
hemitropa, adscendentia. Capsula quadripartita, stellariformis (coccis divaricatis), 
loculicida; endocarpio chartaceo ab exocarpio coriaceo seu lignescente solubili. Semi- 
na in loculis seepissime bina, ovoidea, testa nitente drupacea. Embryo intra albumen 
carnosum rectus; cotyledonibus ovalibus; radicula supera.—Arbores Sandwicenses 
(necnon Samoenses), inermes, odorate; foliis simplicibus integerrimis oppositis seu 
verticillatis coriaceis punctatis venosissimis, venis in venulam intramarginalem plus 


minus confluentibus; floribus axillaribus. (A. G.) 


P. anisata Mann, in Proc. Bost. Soc. Nat. Hist., x, 314.—A slender tree 
15-20 ft. high. Leaves opposite, oblong, 3-7 1%-2% in., on petioles of 1 in., obtuse 
or rounded at both ends, or emarginate with an attenuate base, chartaceous. Flowers 
small, 1-3 or more on a common axis. Capsule thick coriaceous, small cuboid, 
subentire, the outer faces marked only by a shallow notch, the axis remaining entire 
after dehiscence. All parts of the tree, but especially the capsules, emit a strong 
odor of anise when bruised. The native name is Mokzhana, a word meaning also a 
smell or perfume. The capsules were strung for /ezs as shown at the bottom of 
Fig. 97, the capsules having after a lapse of a dozen years still a strong anise odor. 
On Kauai, at least, it seems to have been the favorite perfumer, the threaded capsules, 
or the twigs of leaves being placed among the sheets of kapa. The native name of 
the genus is A/anz, a tough wood used for making kapa-beaters. The species most 


preferred for this purpose was P. sandwicensis. 
(163 ) 


FIG. 98. ALYXIA OLIVFORMIS. MAILE. 


A Favorite Hawatian Perfume. 165 


Alyxia R. Brown. Prod. 469.—Calyx 5-partitus, eglandulosus, segmentis 
ovatis lanceolatisve brevibus. Corolla hypocrateriformis, tubo cylindraceo ad stamina 
dilatato, fauce esquamata; lobi 5, contorti, sinistrorsum obtegentes. Stamina medio 
tubo v. altius inclusa; antherz lanceolate, loculis basi inappendiculatis. Discus 0 v. 
obscure annulatus. Ovarii carpella 2, distincta; stylus filiformis; stigma oblongum 
vy. eapitatum, apiculo inconspicuo v. breviter 2-fido; ovula in quoque carpello 4-6, 
2-serlata. Drupez v. bacce 2 v. abortu solitariz ovoidee v. oblong 1-sperme y. 
monilifere, articulis 2 rarius 3-4 oblongis 1-spermis. Semina ovata v. oblonga, sul- 


cata vy. placentam intrusam amplectentia; albumen corneum, ruminatum; cotyledones 


foliaceze, ovate v. oblonge, rectz v. curvule, radicula brevi supera.—Frutices szpius 
glabri. Folia 3—-4-natim verticillata v. rarius opposita, coriacea, nitida pennivenia 
venis tamen parum prominulis. Flores parvuli, gemini v. cymosi, cymis capitellatis 
fasciculatis v. breviter spicato-paniculatis, axillaribus v. in axillis foliorum termina- 


lium pseudo-terminalibus. (H.& B.) 


A. oliveeformis Gaud., in Bot. Voy. Freyc., p. 451.—A straggling or twin- 
ing shrub. Leaves opposite and ternate, elliptico-oblong, 1144-244 K %-34 in., acumi- 
nate at both ends, coriaceous, glossy. Penduncles axillary, 3- rarely 4-flowered. 
Calyx small, acutely 4- rarely 5-parted. Corolla yellowish, the tube 2-2% lines, the 
4 rarely 5 ovate lobes half the length of the tube. Anthers small, acute enclosed. 
Style enclosed; stigma at first conical and slightly hairy at the top, but afterward 
capitate. Ovules 2 in each carpel, superposed. Drupes often twin in a single flower 
and stipitate, fleshy, black, elliptico-oblong, sometimes curved, 7-10 lines long, acumi- 
nate at both ends. The maz/e of the natives, who make great use of the fragrant 
branches; the perfume is, however, rather nauseous to foreign nostrils. (Fig. 98.) 


Santalum Linn. Gen. n. 480.—Flores hermaphroditi. Perianthii tubus cam- 
panulatus v. ovoideus, ima basi ovario adnatus; lobi 4 rarius 5 usque ad discum soluti, 
valvati, intus pone stamina fasciculo pilorum instructi. Stamina basi loborum affixa 
iisque breviora, filamentis brevibus; anthere ovate, loculis parallelis longitudinaliter 
dehiscentibus. Discus tubum perianthii tenuiter vestiens, inter stamina in squamas 
distinctas carnosulas spathulatas triangulares v. fere quadratas productus. Ovarium 
primum in fundo perianthii fere liberum, mox basi accrescens semi-inferum; stylus 
elongatus, stigmate breviter 2-3-lobo; ovula 2-3, infra medium placentez centralis 
longe acuminate affixa, arcte reflexa. Drupa subglobosa, cicatrice annulari perianthii 
delapsi coronata, exocarpio haud crasso, endocarpio duro sepius rugoso. Semen 


subconforme; embryo in centro albuminis rectus v. obliquus, linearis, teres, radicula 


FIG. 100, ZINGIBER ZERUMBET. AWAPUHI. 


The Fragrance of Sandal-wood. 167 


cotyledonibus multo longiore.—Arbores fruticesve glabri. Folia opposita v. rarius 
alterna, petiolata, integerrima, coriacea v. subcarnosa, pennivenia sed costa sola sepius 
conspicua. Flores quam in generibus affinibus seepius majores, in axillis superioribus 
v.ad apices ramorum trichotome paniculati, paniculis laxiusculis at seepius foliis brevi- 


oribus v. interdum ad racemos simplices reductis. Bracteee inconspicue. (H. & B.) 


S. freycinetianum Gaud. Bot. Voy. Freyc., p. 442, tab. 45.— Tree 15-25 ft. 
high. Leaves opposite, ovato-elliptico- or obovato-oblong, 2’%-31'4-1% in., on short 
petioles of 1-2 lines, somewhat obtuse at both ends, chartaceous, glabrate or slightly 
ochraceous underneath. Cymes paniculate, 1%-2 in. long terminal and in the axils 
of the uppermost leaves, the flowers almost sessile in clusters of 3-9. Bracts short, 
deciduous. Perigone dull-red, campanulate, the rather acutely ovate lobes as long as 
the tube or longer. Disk lobes short and broad, almost emarginate. Anthers longer 
than the filaments, included. Style little shorter than the perigone, shortly 3-4-cleft, 
the lobes capitellate. Drupe ovoid, 5 lines long, with a glaucous bloom when young 
and a truncate apex; the putamen smooth. 

The z/zahr of the natives, who used the powdered heart-wood, /aau ala, as a 
perfume. ‘The early traffic in sandal-wood from these islands led to the destruction 
of so many trees that the iliahi is now rare; it is found here and there as small trees, 
hardly large enough to yield much of the prized wood. In New Zealand a species of 
Santalum has the Maori name JAZazrz, the name of the fragrant Maile of the land of 
their origin. In some of the folds of the kapa in the Museum derived from the 
Hawaiian Alii I have found traces of the powdered sandal-wood. 


Zingiber Adanson. Fam. ii, 66.—Calyx membranaceus v. hyalinus, tubu- 
losus, breviter 3-lobus. Corolle tubus cylindraceus, superne parum dilatatus; lobi 
angusti, posticus erectus, incurvus, concavus, laterales patentes. Staminodia lateralia 
basi cum labello connata v. preeter lobos laterales labelli o; labellum vy. labelli lobus 
medius lateralibus major, integer v. breviter 2-fidus, interdum crispulus; anthera in 
filamento brevi erecta, oblonga, loculis inter se parum distantibus, connectivo ecal- 
carato ultra loculos in appendicem linearem v. subulatam producto. Ovarium 3-locu- 
lare, ©-ovulatum; stylus filiformis, stigmate ultra loculos antherz sepius parvo 
subgloboso. Capsula globosa v. oblonga, pericarpio haud crasso, irregulariter rupta. 
Semina szepius majuscula, oblonga, arillo lacero laciniis nunc brevibus, nunc elonga- 
tis semen longe superantibus.—Rhizoma horizontale, tuberosum. Caules foliati 
variant floriferi v. steriles. ‘Thyrsi spiciformes, densi, strobiliformes v. longiusculi, 


IL 


FIG. 99. SANTALUM. 


Ginger and Flor Aroma. 169 


bracteis imbricatis, nune in scapo radicali aphyllo vaginis obtecto nunc in caule 
foliato terminales v. in pedunculo recurvo laterales. Flores sub quaque bractea 1-3, 
singuli bracteola spathacea stipati. (H. & B.) 


Z. Zerumbet Roscoe, in Trans. Linn. Soc., viii, 348.— Stem 1-2 ft. Leaves 
distichous, lanceolate, 7-8 in. long, acuminate, glabrous, shortly stipitate on a long 
sheath which runs out into two ears. Scape radical, about a foot long. Spike ovoid, 
2-3 in. long, its bracts broadly rounded. Flowers yellowish white; middle lobe of 
labellum emarginate, yellow. 


The Awapuhi of the natives, who used the powdered rhizome for scenting kapa. 


Acacia Willd. Spec. Pl. iv, to49.— Flores 5-4-meri, rarius 3-meri, szpius 
sessiles, hermaphroditi v. polygami. Calyx campanulatus, dentatus lobatus v. in 
sepala distincta divisus, rarissime subnullus. Petala plus minus coalita v. rarius 
libera, rarissime 0. Stamina o (sepius ultra 50), exserta, libera v. ima basi in 
cupulam brevissimam vy. discum perigynum brevissime et irregulariter connata; an- 
therze parvee; pollinis granula in massas 2-4 in quoque loculo sepissime aggregata. 
Ovarium sessile, v. stipitatum, 2-#-ovulatum; stylus filiformis, stigmate terminali 
parvo. Legumen ovatum oblongum y. lineare, rectum arcuatum y. varie contortum, 
planum conyexum vy. teres membranaceum coriaceum v. lignosum, 2-valve v. indehis- 
cens, intus continuum, septatum vy. varie farctum, rarissime in articulos secedens. 
Semina transversa v. longitudinalia, saepius ovata, compressa, funiculo filiformi v. 
varie in arillum carnosum dilatato.— Arbores frutices v. rarissime herbe, inermes 
aculeate v. spinosz. Folia bipinnata, foliolis sepius parvis -jugis v. ad petiolum 
foliiformem (phyllodium) reducta; glandula petiolaris seepe adest. Stipule spine- 
scentes v. inconspicuz, rarius membranaceze. Capitula globosa v. spice cylindrice, 
pedunculis axillaribus solitariis v. fasciculatis, v. ad apices ramorum paniculatis. 
Flores parvi. Stamina flavescentia v. alba, rarissime semipollicem attingentia, in 
quoque flore numerosa, interdum usque ad 4oo. Bractz szpe 2, connate, breves, 
squamiformes, sub capitulo, v. in medio pedunculo v. ad ejus basin, sub floribus intra 
capitulum sepius lineari-cuneate v. apice peltato-dilatate. (H. & B.) 


A. farnesiana Willdenow.— A much-branched shrub, quite glabrous or 
slightly pubescent on the petioles and peduncles. Leaves of 4-6, rarely 8 pairs of 
pinne. lLeaflets 10-20 pairs to a pinna, linear, about 2 lines long. Stipules con- 
verted into slender straight thorns very variable in length, the plant otherwise 
unarmed. Peduncles usually 2 or 3 together in the older axils, each bearing a singu- 
lar globular head of sweet-scented yellow flowers. Pod thick, irregularly cylindrical 


FIG. IOI, ACACIA FARNESIANA. 


Perfumes for Kapa. ey 


fusiform, indehiscent, filled with a pithy substance, within which are the seeds. Of early 
introduction this plant has spread everywhere and become a troublesome weed. ‘The 
flower heads, the flor aroma of the Spaniards, are used by European perfumers as 
well as by the old Hawaiians to impart their lasting and not unpleasant odor to 
various articles; with the latter, especially to sheets of kapa. (Fig. ror.) 


Calophyllum Linn. Gen. n. 658—Flores polygami. Sepala cum petalis 
4-12, 2—-3-seriatim imbricata. Stamina , libera y. vix basi connata; filamenta brevi- 
ter filiformia; antheree erectee, ovate v. oblong, 2-loculares, longitudinaliter dehis- 
centes. Ovarium t-loculare; stylus longiusculus, sttgmate peltato; ovulum 1, erectum. 
Drupa indehiscens, putamine crustaceo. Semen erectum, ovoideum vy. globosum, 
testa nunc tenui nunc fungoso-incrassata.—Arbores. Folia coriacea, nitida, creber- 
rime striato-penninervia. Panicule axillares v. terminales cymoso-trichotome vy. 


racemiformes et minus stricte centrifuge. (H. & B.) 


C. Inophyllum L.—DC. Prod. I., 562.—A wide-spreading tree 40-60 ft. high, 
glabrous throughout. Leaves coriaceous, shining, broadly oblong or obovate, 8X 4 in., 
rounded or emarginate, on petioles of nearly 1 inch. Racemes axillary, 2-7 in. long, 
the pedicels 1-1%- in. with short, soon deciduous bracts at the base. Sepals 4, 
rounded, 4-5 lines long. Petals 4, rarely 6-8, white, oblong, 7-8 lines. Style 2-3 
lines. Fruit globose, 1 in. or more thick. Flowers very fragrant. ‘This useful tree 
furnished fine timber, excellent oil, and a grateful perfume. (Fig. 102.) 


While I have perforce omitted many of the dyestuffs used in other parts of the 
kapa-making world, enough have been enumerated to show that the Hawaiians were 
well supplied with the factors of several important colors, as yellow, red, brown, blue, 
mainly indeed from vegetables, although the ochres played no unimportant part. In 
what manner then were they used? The principal Hawaiian word meaning to color 
is hooluu, meaning to dive into the water, to plunge into a liquid, hence to dye; and 
this was the usual method of imparting color to pieces of kapa, but equally it was 
dyeing when the liquid imparting the color was sopped into the fibres, which was a 
common method used when the dye was in small quantity, or the piece of kapa to be 
colored small. We are told that some of the Solomon Islanders spit the dye from the 
mouth and rub it into the outlined figure with the finger. The application of color 
by the ohekapala, or by the ruling pen, or any natural object, as a fern leaf, 
was not dyeing but printing; the color was superficial and did not permeate all the 
fibres of the kapa. We have seen, however, that oil-mixed colors as applied by the 


FIG. 


102, 


CALOPHYLLUM INOPHYLLUM. 


KAMANI, 


Flow Were the Dyestuffs Used? 173 


Tongans, Samoans and others with the wfe/e often pass through the fabric and 
appear on the other side, in which case there seems to be no strict distinction between 
printing and dyeing. 

The most interesting question is how the bark, leaves, seeds, fruits, were 
treated to make the potential color available. Most of the dyes here mentioned may 
be extracted by infusion, and others by boiling, but did the old Hawaiians boil? 
They had no pottery, and no metal pots, and did not boil their food; but that was 
rather a matter of taste than from a lack of either knowledge or utensils. Their 
cooking by placing hot stones inside of birds, dogs or pigs would surely teach them 


the process of “stone boiling”’ 


practised by many other Pacific islanders, as the 
Solomon Islanders, who had pottery of fair quality, though not so large as the huge 
cannibal pots of Fiji, and yet used this method in cooking their “long pig” in the 
large elliptical wooden bowls reserved for that purpose. ‘The Hawaiians had wooden 
bowls (wmeke) of generous size, quite sufficient to boil with hot stones the largest 
pig, dog or fish had they been so inclined. ‘They also had stone bowls of perhaps 
five gallons capacity which could have been used for preparing a hot dye, and smaller 
stone cups were in universal use among them. 

Then the question of mordants to precipitate the coloring matter in the fibres and 
so increase the permanency of the coloring. ‘They used sea-water, urine and burned 
coral lime for such purpose. ‘They recognized, if they did not understand the reaction 
between tannin and salts of iron, as in the familiar ink-making; this we have seen in 
the double dyeing with hili kolea, hili koa or hili kukui, and then with the iron-satu- 
rated mud or water. I have repeated this process and found it easily workable. 

I do not intend to tire the reader with a recital of my many experiments with 
these dyes: I have pulverized them, infused them, steamed them (as we know the old 
Hawaiians did the fa/aé) mixed with sea-water with or without lime, both the origi- 
nal white kapa and the first dyed fabric; I have tried bark of the stem and of the root, 
leaves, fruit, seeds; but as I had not a single authentic recipe I cannot say that any 
one of these processes was the one used in coloring any individual piece of kapa. ‘The 
experiments were interesting to me, and the results were sometimes good, but they 
only showed that color could be obtained from the material known to have been used by 
the Hawaiian kapa-makers, and not at all that they were used in that particular way. 

A practical dyer could perhaps unravel the probable method, and fix with toler- 
able certainty the process used in certain cases; I cannot myself, and so rest contented 
with giving a list of the materials with which any can experiment. ‘The one thing 
this list certainly teaches is the great amount of experimental research the men of 
old must have undertaken before this considerable number could have been brought 


174 Ka Hana Kapa. 


together. In the old days their knowledge of tree and plant, and their qualities, 
economic or therapeutic, was considerable, and they had a name for each and every 
one. Even two score years ago I seldom found a mature native who could not give 
me the Hawaiian name of any tree I found in the mountain forests. 

It seems well to add to the list of raw material the principal woods preferred for 
the beaters, anvils and other necessary tools. By consulting the list of Ie kuku it 
will be seen that the greater part of these beaters was the produce of the £azz/a tree, 
and so great was its toughness that it was also in demand for the fabrication of the 
large and heavy spears, the daggers and other weapons. 


Alphitonia Reissek, in Endlich. Gen. 1098.—Flores hermaphroditi. Calyx 
5-fidus, tubus late obconicus, lobis 3-angulari-ovatis acutis patentibus intus carinatis. 
Petala sub disco inserta, subelongata, involuta. Stamina 5, filamentis filiformibus, 
petalis involuta. Discus crassus, pilosus, tubum calycis implens, 5-gonus. Ovarium 
disco immersum et cum eo confluens, 2-3-lobum, 2-3-loculare, in stylum 2-3-fidum 
attenuatum, stigmatibus obtusis. Drupa globosa v. late ovoidea, infra medium 
calycis tubo annulata, atra, 2-3-pyrena, epicarpio suberoso sicco pulvere atro v. rubro 
farcto, pyrenis lignosis v. crasse crustaceis intus longitudinaliter dehiscentibus. 
Semina late oblonga, compressa, plano-convexa, arillo membranaceo laxo fragili apice 
pervio induta, testa cornea coriacea v. ossea nitida, albumine cartilagineo v. carnoso; 
cotyledones orbiculatz, crassiuscule, plane; radicula brevis.— Arbores interdum 
procere, ramulis ferrugineo-tomentosis. Folia alterna, petiolata, ovato-v. oblongo- 
lanceolata, integerrima, parallele penninervia, venulis crebris striolata, subtus incana, 
superne sicco atra. Stipule parvee, decidue. Cyme axillares et terminales. Flores 
ferruginei. Drupz majuscule. ‘Tahiti, Fiji, Borneo, Philippines. (H. & B.) 


A. excelsa Mann, Enum. 87.—A fine tree, 50-90 ft., the young branches rusty 
tomentose. Stipules subulate, soon caducous. Leaves ovate-oblong or lanceolate 
2-6 X 34-2 in., on petioles of '%~-1 in. generally acute, entire, coriaceous, dark green 
and glabrous above, rusty tomentose beneath. Flowers in the axils of youngest leaves 
in short tomentose dichotomous cymes. Calyx tomentose, leathery, the lobes promi- 
nently ridged and expanded. Petals half as long as the calyx lobes, of delicate tex- 
ture, spathulate and cucullate from a narrow flat base, enclosing the short stamens. 
Anthers short, ovoid, emarginate at the base. Disk pentagonal. Style very short, 
2-3-fid. Fruit globose, 7-9 lines in diameter, enclosed to the middle by the adnate 
calyx, almost indehiscent. Arillus dark red enveloping the whole seed, opening by a 
transverse slit at the top. Cotyledons broad oblong; radicle papilliform. On dry 
slopes of most of the islands but not common. Aawz/a of the natives. 


FIG. 103. ALPHITONIA EXCELSA. KAUILA. 


176 Ka Hana Kapa. 


Straussia A. Gray, in Proc. Amer. Acad., iv, 43.—Calycis tubus turbinatus v. 
hemisphericus, pedicello articulatus; limbus brevis, cupularis, late 4-5-dentatus, 
persistens. Corolla breviter infundibularis, tubo intus glabro, fauce sparse pilosa; 
limbi lobi 4-5, patentes, coriacei, valvati. Stamina 4-5, fauci corolle inserta; fila- 
mentis brevibus; anthere basifixe, semi-exserte, oblongz, connectivo dorso incrassato. 
Discus tumidus. Ovarium 2-loculare; stylus brevis, glaber, ramis 2 brevibus; ovula 
in loculis solitaria, e basi erecta, truncata. Drupa pyriformis, rarius ovoidea, 2-pyrena 
pyrenis plano-convexis cartilagineis v. coriaceis. Semina plano-convexa, ventre pro- 
funde angustissime sulcata, testa firme membranacea intra fissuram albuminis dense 
cornei intrusa; embryo ad basin fissure, parvus.—Arbores v. frutices fere glaberrimi, 
ramulis robustis lignosis teretibus. Folia opposita, breviter petiolata, coriacea, obo- 
vata, obtusa. Stipule interpetiolares, lata, obtuse, caducee. Flores parvi, in cymas 
longe pedunculatas terminales trichotome subcapitatim ramosas dispositi, brevissime 


pedicellati. 


S. Kaduana Gray, zz /oc.—'Tree 15-20 ft. high. Leaves obovate-oblong, 
2-4X1'%4-2 in. on short petioles, cuneate towards the base, chartaceous and pale 
beneath. Stipules short, broadly triangular. Panicle 2-5 in. long, erect or nodding, 
with only one or two whorls of rays toward the end of a long peduncle. Calyx with 
denticulate limb. Corolla about four times as long as calyx, naked at the throat, its 
4-6 lobes generally longer than the tube. Drupe obovoid or top-shaped, almost 


quadrangular, with a broad flat disc. The native Aopzko. 


Cesalpinia Linn. Gen. n. 516.—Calycis tubus discifer brevis, nunc brevis- 
simus; segmenta 5, imbricata, infimo exteriore concavo v. cymbiformi, sapius 
majore. Petala 5, orbiculata v. rarius oblonga, patentia, valde imbricata, parum 
inzequalia vy. summo intimo minore. Stamina 10, libera, declinata filamentis basi 
seepius villosis v. glandulosis; antherze uniformes, loculis longitudinaliter dehis- 
centibus. Ovarium sessile, in fundo calycis liberum, pauciovulatum; stylus teres, 
seepe filiformis, apice rarius clavatus, stigmate terminali truncato concavo v. minuto. 
Legumen ovatum, oblongum, lanceolatum v. faleatum, compressum, exalatum suturis 
nerviformibus v. incrassatis, nunc planum y. turgidum coriaceum et 2-valve, nunc 
coriaceum vy. crassum et indehiscens v. vix tardius 2-valve, inter semina seepe farctum. 
Semina transversa, ovata obovata orbicularia ovoidea v. globosa, testa coricea interdum 
crasso-subcarnosa; albumen 0; cotyledones plane v. crasso-carnose, basi integre v. 
vix cordate; radicula brevis, recta.—Arbores v. frutices nunc alte scandentes, inermes 


v. aculeis sparsis horridi. Folia bipinnata, foliolis nunc parvis numerosis v. paucis, 


FIG. 104. STRAUSSIA KADUANA. KOPIKO. 


178 Ka Hana Kapa. 


nune majoribus herbaceis v. coriaceis. Stipule varie. Flores flavi v. rubri, seepe 
speciosi, racemosi, racemis laxis in axillis superioribus v. ad apices ramorum pani- 
culatis. Bracteee parve vy. rarius majores et membranacee, sepius caducissime; 


bracteolz o. 


C.-Kauaiensis Mann, Enum. 120.—A small tree with loose, spreading 
branches unarmed, the shoots fulvo-tomentose. Leaves abruptly bipinnate with 1-5 
pairs of pinnz, each pinna with 4-8 pairs of leaflets, the common rachis 3-5 in., the 
pinne 1%4-3 in. long. Leaflets oblong, 1-114 X™% in. obtuse at both ends, retuse, 
membranaceous. Stipules and stipelle none or small wart-like. Raceme terminal, 
hoary, 1-3 in. long, densely floriferous from the base; the pedicels 1-2 in., jointed 
above the middle. Bracts acute, ciliate, caducous. Calyx glabrous, pinkish, the 
short tube 2 lines, the lowest lobe concave 6-7 lines, the others oblong obtuse, 3-4 
lines. Petals pinkish-purple, shorter than the calycine lobes, the uppermost one 
obcordate, folded, of deeper color, the lateral ones sub-orbicular, the two lower ones 
obovate. Stamens exserted, declinate, the filaments hairy broad and flat below. 
Ovary glabrous, sessile, 3-5-ovuled. Style incurved; stigma small. Pod obovate, 
3-3 X1%-2 in., with a dorsal wing 3-4 lines wide running along its whole length 
and ending in an uncinate point flat, thin, indehiscent. Seeds 2-4, transverse, pale, 
ovate, flat with a punctiform hilum at the base. The native UVhzwhz. 


Byronia Endl., in Ann. Wien Mus., i, 184—Flores polygami. Calyx parvus, 
4-6-lobus. Corolla 5-9-partita v. lobata. Stamina lobis corolle isomera v. iis duplo 
plura, filamentis subulatis; anthere oblonge. Ovarium globosum, 10-18-loculare, 
stigmate sessili discoideo. Drupa 10-18-pyrena, pyrenis cartilagineis—Arbuscule 
v. arbores glaberrime. Folia alterna, coriacea, lucida. Cyme 3-chotome, axillares. 


Drupe parve, sicce multicostate. 


B. sandwicensis Endl., 2 /oc. cet-—A fine tree, 20-40 ft. high, quite glabrous. 
Leaves elliptico-oblong or obovate, 2-41-2™% in., on petioles of 6-15 lines, obtuse, 
narrowing toward the base, entire or rarely serrulate, coriaceous, dark green, glossy 
with impressed nerves. Flowers numerous in cymose pannicles of 2-4 in. length, the 
naked and compressed peduncle '%~—2 in., the pedicels 3 lines, bibracteolate below the 
middle, the bractlets 1-1% lines. Calyx 1 line, coriaceous, 4-lobed, the lobes rounded. 
Corolla 2 lines, rotate, white, deeply 6—r1o-cleft. Stamens 6-10, half the length of the 
corolla, with short ovoid anthers. Stigma of 12-20 rays. Drupe blue-black, fleshy 
globose, compressed, 3-4 lines in diameter, many-ribbed when dry, containing 10-20 
separable pyrenas. Plate 26 in Gray’s Botany of the U. S. Exploring Expedition. 


FIG. 105. BYRONIA SANDWICENSIS. KAWAU. 


180 Ka Hana Kapa. 


This fine tree, beautiful as a young shrub, has an excellent timber-wood used 
often by the natives for ua kuku or kapa anvils; the native name is Kawau. The 
illustration, Fig. 105, is of the small-leaved variety on Oahu, where it is a small shrub 
rather than atree. The odor of the fresh flowers is strongly honey-like. 


Bambusa Schreb. Gen., Pl. 236.—Spicule 2--flore, secus ramos panicule 
dissite glomeratez, rhachilla sub floribus articulata, floribus hermaphroditis v. superi- 
ore masculo, inferioribus interdum sterilibus. Glume rigide membranacez vy. sub- 
coriacee, mutice v. breviter mucronato-acuminate, tenuiter multinerves, inferiores 
3-4 vacuze ab extima parva in superiorem florentibus subsimilem gradatim aucte; 
florentes longiores, summa szpius angusta vacua; palea glume subzequalis, spe 
angusta, carinis 2 acutis ciliatis valde prominentibus vix tamen vere alatis. Lodi- 
cule 3. Stamina 6, filamentis liberis. Ovarium apice hirsutum; stylus elongatus, 
indivisus v. varie 2-3-fidus, stigmatibus breviter plumosis. Caryopsis oblonga, facie 
plana v. leviter sulcata, gluma paleaque inclusa, libera, pericarpio tenui semini 
adherente, humectato tamen facile solubili.—Gramina arborescentia v. rarius suffruti- 
cosa v. scandentia, interdum spinifera, foliis breviter petiolatis cum vagina articulatis 
planis venulis transversis obscuris v. conspicuis. Panicula in caule inferne folliis 
denudato, interdum quam maxime decomposita, rarius simplex. Spicule sapius 


minores, secus ramos elongatos seepissime fasciculate semi-verticillate sessilesque. 


(H. & B.) 


B. vulgaris Schrad. & Wendl.—Unarmed, 20-40 ft. high, the branches scaly 

below, striate. Leaves stipitate, oblong-lanceolate, 6-12 in. long and 14-2 in. wide, 
acute, rounded at base, scabrous, ciliate at the mouth of the abruptly terminating 
sheath. Spikelets 6-10 lines long, stramineous, 6—8-flowered, with 3-4 fertile florets, 
the upper ones tabescent; the glumes of the fertile florets ovate-lanceolate with subu- 
late points, I5—r1g nerved, abruptly passing into the shorter sterile ones. Style long, 
pubescent, simple or 2-3 cleft. Amnthers linear, purplish. 

On all islands wild in low valleys, and varying considerably in diameter of 
stem and length of joints. Native name Ose. The Hawaiians beside the use for 
printing type already described, used the larger sizes for outriggers to the canoes, 
the smaller for fishing poles, nose flutes, etc., and the intermediate ones for other 
musical instruments or noise-makers, although they had not the pandean pipes so 
common in the Papuan region on the west. I do not believe this grass was introduced 
by foreigners; many other forms have been brought here in the last thirty years. 
All seem to grow well, and the illustration shows a fine clump of the Hawaiian form 
growing near the shore at Hilo, Hawaii. Fig. 106. 


SPR OES toe: 


BAMBUSA VULGARIS. OHE. 


106. 


FIG. 


182 Ka Hana Kapa. 


In speaking of the paint brushes used by the old Hawaiians mention was made 
of the Hala (Pandanus odoratissimus) as the source of these simple brushes, but no 
specimen of the ripe fruit was at hand to illustrate the origin and form of the imple- 
ment. I have since been able to supply the deficiency in Fig. 107. It has not been 
thought needful to refer to the hala tree otherwise, as this is the only part of this 


useful tree appearing in the manufacture of kapa. 


FIG. 107. A RIPE FRUIT OF THE PANDANUS. 


(CIBGRIPIUIBIN IY 


THE USES oF Kapa. 


An orderly treatise on the uses of kapa (of course in the olden time) must 
begin with the earliest and most important use,—that for clothing. A treatise on 
clothing with so little for text: a strip of cloth nine inches wide and nine feet long 
for the man, and for the woman a strip a little wider and somewhat longer! The 
gentler sex to whom we owe the multiplication of clothes and the variation of fashions, 
reduced to such simplicity as the learned Teufelsdrockh would find difficult to farther 
anatomize, and we unlearned ones can only admire as we do the Venus of Melos! 
The philosophy of Sartor Resartus crumbles away in a land where a tailor was as 
unknown as an electrician, and yet all were sufficiently clothed. 

“© fair undress, best dress! It checks no vein, 


But every flowing limb in pleasure drowns, 
And heightens ease with grace.’’ 


Three only were the forms of dress on Hawaii for both sexes: for the man the 
malo or narrow strip; for the woman the pa’u a similar strip but wider and longer; 
for both sexes the kihei or shawl; in modern termis trousers, petticoats and cloak. 

Simple as these garments were they all admitted of grades in quality, decora- 
tion and size. We find a heavy penalty, sometimes death itself, was incurred if a 
commoner put on the malo of a chief; so there was a difference between the garb of a 
commoner and that of an aristocrat even in those primitive days, easily seen. Later 
the kapa malo of the chief developed into the more costly and durable network of 
olona, which in the case of the Moi was sometimes covered with feathers and decorated 
at the ends with the teeth of his enemies. Fig. 108 represents the network of one of 
these in the Bishop Museum (No. 6921). ‘he feathers are all gone, but a careful 
examination shows the quills of the feathers still attached to the web in places, and 
on the broad surface fragments of skin are also found indicating the former presence 
of the black plumage of the zwa (Fregata aquila) which was usually attached with 
the skin. There is also in this museum a fragmentary malo of mat work never 
covered with plumage, carefully preserved in the Queen Emma collection (No. 2600), 
supposed to be the famous malo of King Liloa which attested the birthright of his 
son Umi as told in Hawaiian song and legend. 

To return to our plain kapa malo: it was usually adjusted to the body by hold- 
ing one end under the chin, passing the malo backwards between the legs, prmeine 

183) 


FIG. 


108. 


NETWORK OF A ROYAL FEATHER MALO. 


B. 


M. 


Wearing the Malo. 185 


it up over one buttock and round the waist over the vertical end of the strip and 
deftly twisting the end around the part coming up to the waist. The suspended end 
then falls gracefully down and seems to form a very sufficient garment. ‘The free- 
dom from buttons and other detachable fastenings was purchased by the exertion of 
some skill in fastening the malo 
securely. It seems a simple thing 
to adjust a strip of cloth of suitable 
size to the pelvic portion of a man’s 
body, but let my reader try the ex- 
periment and he will find it at first 
dificult to establish a feeling of 
security; there is an uncomfortable 
feeling that one or two safety-pins 
would help. We remember that it 
must be easily removed and as quick- 
ly readjusted. ‘The deft twist of the 
end around the girdle portion was 
usually sufficient, although the old 
Fijian whose portrait is given in 
Fig. 109 used a more formal knot, 
sacrificing symmetry to security. 
When the kapa malo was wet it was 
not so easily detached; hence the 
custom of going without the malo 
in battle that any enemy might have 
no such sure and convenient hold. 


The Hawaiian koa was naked as the 
contestants in the Olympic games. 
We have seen that on the south- 
ern groups the length of the pendent 
portion of the malo varied greatly 


from one so short as to require a 
wv 


FIG. 109. OLD CANNIBAL, FIJIAN. 


cord for attachment to the waist up 
to a length of several feet, so that the wearer when walking must throw it over his 
shoulder to get it out of the way. ‘The dandies wore absurdly long malos. While 
kapa was the only material on Hawaii for clothing, there was no money to be 
carried in pocket, nor knife, nor keys, so the trousers pocket was not missed. With 


186 Ka Hana Kapa. 


the advent of foreigners came all these things, and also the cotton cloth (long cloth), 
and the adaptation of ends to means was amusing—I have seen a pocket formed 
by knotting a corner of the front pendent malo; once also a native who had been at 
work on a schooner on which I had been traveling, now at anchor, was seen to tie the 
dollar he received as wage in the corner of his malo and jump overboard to swim 
ashore. Pockets could thus be had without trousers. 

From the manner of wearing the malo passed between the legs it was important 
that the material be soft and not very thick; with the pa’u no such necessity existed 
and female fancy might (and often did) increase the simple dress shown in Fig. 110 
by adding many layers of kapa of indefinite length. While I have seen no specimen 
consisting of more than seven sheets, and few that exceed three, Mrs. Lucy G. 
Thurston, one of the pioneer missionaries to these islands, with whom I have often 
discussed events and manners of the olden time natives as they turned from their 
broken sapu and discredited idolatry to the new religion brought by the foreigners, 
describes in her autobiography” the largest pa’u I have heard mentioned. It was in 
1820 at Kailua on Hawaii, on the occasion of a feast given by King Liholiho (Kameha- 
meha II) to commemorate the death of his father Kamehameha I.” 


“The King appeared in a military dress with quite an exhibition of royalty. 
Kamamalu, his favorite queen [who afterwards died with him in England] applied to 
me for one of my dresses to wear on the occasion; but as it was among the impossibles 
for her to assume it, the request called for neither consent nor denial. She, however, 
according to court ceremony, so arranged a native cloth pa’u a yard wide, with ten 
folds, as to be enveloped round the middle with seventy thicknesses. To array her- 
self in this unwieldy attire, the long cloth was spread out on the ground, when, 
beginning at one end, she laid her body across it, and rolled herself over and over 
till she had rolled the whole around her. Two attendants followed her, one bearing 
up the end of this cumbrous robe of state, and the other waving over her head an 
elegant nodding fly-brush [kahili] of beautiful plumes, its long handle completely 
covered with little tortoise shell rings of various colors. 

‘Her head was ornamented with a graceful yellow wreath of elegant feathers, 
Gi preat value... vss. - A mountain vine [maile] with green leaves, small and lustrous, 
was the only drapery which went to deck and cover her neck and the upper part of 
her person. Thus this noble daughter of nature, at least six feet tall and of comely 
bulk in proportion, presented herself before the king and the nation, greatly to their 


*Life and Times of Mrs. Lucy G. Thurston, wife of Rey. Asa Thurston, Pioneer Missionary to the Sandwich 
Islands. Ann Arbor, Mich., 1882. p. 41. 


The Hawaiians are accustomed to celebrate the deathday of friends or relatives rather than the birthday. 
Thus we hear of a rousing feast given on the first anniversary of the death of an only child. 


Flawattan Ancient Dress in New England Eyes. 187 


admiration. After this presentation was over, her majesty lay down again upon the 
ground and unrolled the cloth by reversing the process of clothing.” 


I cannot give a portrait of the handsome Hawaiian queen, but I present a 
photograph of a Samoan girl of the same age, whose costume answers the description. 
Add the yellow feather lei and remove the fan and Kamamalu is before us. Mrs. 
Thurston tells us that the king usually dressed only in his malo. 

In a former essay “° we have considered the magnificent feather cloaks worn 
by the highest chiefs on great occasions or in battle, and as counterpart to these the 
female chiefs had a pa’u decorated with feathers in the same way. One made for 
Nahienaena, daughter of Kamehameha I, is now in the Bishop Museum, but in 1825 
when Lord Byron brought back to their native kingdom the remains of Liholiho and 
Kamamalu, this superb garment 30 inches wide and 20 feet 8 inches long had already 
become old-fashioned to the fancy of the young princess then ten years old, and it 
was difficult to persuade her to put on the pa’u which a few years before would have 
been greatly prized.*' Even in these early days foreign dress was creeping in to 
smother the comfort of Eden. Mrs. Thurston gives us glimpses of the transition 
stage which show how the little-dressed Hawaiians appeared to New England eyes. 
Kalanimoku, the most intelligent chief they had met, was dressed fully in foreign 
clothes and made an excellent impression. "The court ladies, including two of the 
five dowager queens of Kamehaiieha I, were also dressed, from the account we might 
infer were overdressed; but I yield the account of this to Mrs. Thurston, a most 
competent reporter. , 

“Kalakua and a sister queen came on board....They had limbs of giant 
mould. I was taught to estimate their weight at three hundred pounds and even more. 
Kalakua was the mother of three of the wives of the young king. "Two wives of 
Kalanimoku followed. ‘They were all attired in a similar manner, a dress, then the 
pa’u which consisted of ten thicknesses of the bark-cloth three or four yards long, 
and one yard wide, wrapped several times round the middle, and confined by tucking 
it in on one side. ‘The two queens had loose dresses over these. 

“’Trammeled with clothes and seated on chairs the queens were out of their 
element. They divested themselves of their outer dresses. ‘Then the one stretched 
herself at full length on a bench and the other sat down upon the deck. Mattresses 
were then brought for them to recline in their own way. 

“After reaching the cabin, the common sitting room for ladies and gentlemen, 
one of the queens divested herself of her only remaining dress, simply retaining her 


®° Memoirs B. P. Bishop Museum, vol. i, p. 1. 
*'This princess died in 1836, and since then the pa’u has been cut in halves and the parts united lengthwise to 
form a royal pall, last used over the coffin of Kalakaua. It is No. 6831 in the Bishop Museum, 


i 


2" 


Att 


A SAMOAN GIRL WITH LAVALAVA. 


FIG, I10. 


Kamamalu the Queen. 189 


pa’u. While we were opening wide our eyes she looked as self-possessed and easy as 
though sitting in the shades of Eden.” 

Before the missionaries landed from the 7addeus, the king dined on board with 
them. ‘His dress on the occasion was a girdle [malo], a green silk scarf put on 
under the left arm, brought up and knotted over the right shoulder, a chain of gold 
around his neck and over his chest, and a wreath of yellow feathers upon his head.” 


If the rather dissipated young king was as well-formed as his officer Kalani- 
moku it must have been pleasant to see him undisguised by the tailor, and we recall 
the account given by another missionary of another celebration of the anniversary of 
the death of Kamehameha I in May two years after the landing of the passengers 
by the 7haddeus. I have quoted this in another place in illustration of the use of 
Kahilis,* but it will bear repetition here in illustration of the dress of the highest 
chiefs in the land, very little modified from that of the olden time. 


‘“Tameha-maru [Kamamalu] on this day was, as usual, a conspicuous object. 
The car of state in which she joined the processions passing in different directions 
consisted of an elegantly modelled whale-boat fastened firmly to a platform of wicker 
work thirty feet long by twelve wide, and borne on the heads of seventy men. The 
boat was lined and the whole platform covered, first with imported broadcloath, and 
then with beautiful patterns of kapa or native cloth of a variety of figures and rich 
colours. ‘The men supporting the whole were formed into a solid body so that the 
outer rows only at the sides and ends were seen; and all forming these wore the 
splendid scarlet and yellow cloaks and helmets of which you have read ‘accounts; and 
than which scarce anything can appear more superb. ‘The only dress of the queen 
was a scarlet silk fa’w or native petticoat, and a coronet of feathers. She was seated in 
the middle of the boat and screened from the sun by an immense Chinese umbrella of 
scarlet damask [B. M. No. 5152] richly ornamented with gilding, fringe and tassels, 
and supported by a chief standing behind her, in a scarlet wa/o or girdle, and feather 
helmet. On one quarter of the boat stood Karimoku [Kalanimoku], the Prime 
Minister, and on the other Naihe, the national orator, both also in malos of scarlet 
silk and helmets of feathers, and each bearing a kahili or feathered staff of state near 
30 feet in height. ‘The upper parts of these kahilis were of scarlet feathers so ingeni- 
ously and beautifully arranged on artificial branches attached to the staffs as to form 
cylinders fifteen or eighteen inches in diameter, and twelve or fourteen feet long, the 
lower parts or handles were covered with alternate rings of tortoise shell and ivory of 
the neatest workmanship and highest polish.” 


* Memoirs B. P. Bishop Museum, i, p. 19. 
83 Private Journal of a Voyage to the Pacific Ocean and Residence at the Sandwich Islands, in the years 1822, 
1823, 1824 and 1825. By C. S. Stewart. New York, 1828, p. 109. 


————— 


FIG. 


IIl. 


A SMALL KAHILI. 


Modern Hawaiian Dress. I9I 


Probably that grand display of royalty has never been surpassed on these 
islands. The charming young queen died in a distant land two years later and left 
no children. Kalanimoku died February 8, 1827, and Naihe died in 1831. While 
young Hawaiians of good form still survive, not one could clothe himself only in his 
dignity and his maloin sucha pageant. ‘The very kahilis have shrunk into overgrown 
fly-brushes. If the sculptor could have seen those 
two splendid chiefs we should have had no such 
commonplace figure of the great Kamehameha as 
that decked with “barbaric gold” standing before 
the Judiciary Building in Honolulu. 


FIG. 112. HAWAIIANS DRESSED IN HOLOKU. 1864. 


People who are familiar with the mod- 


ern dress of the Hawaiian women (worn also 


for comfort by some of the white women as 


well), should know that there is nothing 
about the “Mother Hubbard” garment called 
holoku connecting it with the indigenous apparel of the women. It is generally 
understood by those who have studied the matter that the pattern was given to the 


TIG. 113. HOLOKU AND MALO. 1908. 


natives by the early American missionaries, and its form was largely in consideration 
of the structure of the enormous female alii, as well as for facility of manufacture. 


Mr. Gould lamented to me that he had no living model before him as he tried to give life and grace to flat 
photographs that had nothing kingly about them. One of the greatest physical evils the foreigner has brought to 
Hawaii is clothing of the type dwellers in New England were used to wear. As they brought their houses quite 
unsuited to the climate, so they brought their garb, and as a legitimate consequence, the Hawaiians are dying of 
consumption in greater numbers than from any other disease. 


192 Ka Hana Kapa. 


In the matter of the etymology of the name there is more doubt; it is, however, 
certain that in rendering the Scriptures into the vernacular when the translators came 
to such a passage as in Psalm CIX, 29, ‘And let them cover themselves with their 
own shame as with a vode,” they had no Hawaiian equivalent for robe; either malo 
or pa’ was quite too scant to meet the demands of the passage, and so the modern 
holoku was used. ‘‘Ae uhi no lakou la lakou iho i ka hilahila me he holoku la.” 

While the malo was (with the rare exceptions mentioned) a simple plain gar- 
ment for use rather than for decoration, the pa’u 
soon became complicated and much more than a 
covering. First, the sheets were multiplied, and 
often dyed of different colors; then came a change 
over the outer sheet on which much care was ex- 
pended in ornamentation, when it was not merely a 
darker color than that of the inner folds, it was ruled 
or imprinted with attractive designs. Usually the 
component layers were stitched together at one end 
as was the case in the kapa moe. (Fig. 55.) 

As in many ethnic religions the dance was an 
important function of worship, although I do not 
place it in so high a position as some writers have 
done. The sacred dance was one thing, the popular 
hula quite a different, although sometimes con- 
founded. I do not propose to discuss the Hawaiian 


dances here, whether religious or secular in motive, 


for this and other games and amusements will doubt- FIG. 114. HAWAIIAN RIDING PAU. 
less be treated fully in some subsequent publication 

in this series, but to the dance is due a development in pa’u decoration. The fa’u hula 
or dance skirt was distinct and often attractive. A common form was a yellow ground 
with red and black figure stamped either along the lower border or in a broad band 
down the front edge; sometimes the exposed surface of the pa’ was covered with the 
stamps or rulings; examples are given in Plates L, M, Nand W. ‘The texture was 
thin and soft so as not to interfere with the free motion of the hips so important a 
factor in the genuine Hawaiian hula. 

When horses were introduced in the early part of the nineteenth century 
another form of pa’u was needed, and although the kapa pa’u with its two long ends 
just caught by the toe in the stirrup soon gave place to the foreign cloth with so 
much more tensile strength, kapa was used for some time, and varieties of it were 


Foreign Cloth Used. 193 


saturated with coconut or kamani oil for water-proofing and strengthening. When 
cotton cloth displaced the kapa very odd patterns were in demand; orange or red 
stripes, black zigzags on yellow, etc., all giving a bizarre but gay appearance to the 
Saturday afternoon riders on the plain then extending from the Kawaihao church to 


FIG. II5. TANOA, KING OF BAU. WILKES. 


Punahou, unmarked by fence or tree, and only broken by the Makiki gulch; this was 
fifty years ago. Cotton cloth was, however, printed in native patterns to please the 
more conservative, and two of these are in the Bishop Museum (Nos. 2323, 2324), 
black figures on yellow which has proved more durable than the native olena. 


Memorrs B. P. B. Museum, Vou. III.—13. 


194 Ka Hana Kapa. 


The Hawaiian chiefs had a malo used only when in bathing made of kapa 
soaked in kamani oil in which the seeds of Haa (Antidesma platyphyllum Mann) had 
been infused. This preparation made the kapa flexible, indestructible in the water, 
and of a bright color. On the Samoan and other of the southern groups, the /avalava 
or male dress was quite like the pa’u of the. 
Hawaiian female, although not so long. 
A young Samoan of Pagopago in removing 
his lavalava to show me the fine pattern of 
his tatu incidentally gave me an oppor- 
tunity of seeing that it was fastened on in 


FIG. 116. WOMAN IN MODERN DRESS. 


the same way as the Hawatiian pa’u, a simple 
twist. All the pain and expense of the neat 
pattern extending from his navel to mid- 


thigh was thrown away, for he told me that 


if he left off his lavalava while in bathing he 


FIG. I17. MAN IN MALO. 


would be fined three shillings and sixpence; 

times were indeed changed! The szhez was common to the sexes and answered the 
purpose of a shawl when the cool trade winds were blowing from the mountain gorges. 
Of course a simple sheet of kapa frequently served the purpose of covering for warmth, 
but the specimens that have survived in museums are generally of good material 
carefully decorated, apparently, in later times, in close imitation of foreign shawls. 
Such a garment may have preceded the pa’u or served as substitute for that and the 


Kapa for Feet and Head. 195 


malo as well. I do not remember ever to have seen it worn. It was usually passed 
under one arm and knotted over the opposite shoulder. 

Temporary sandals used in crossing old flows of rough lava were sometimes 
constructed of braided kapa, but more commonly of hau bark, dracena leaves, or any 
suitable material at hand. Plain bands of white kapa were sometimes worn about 
the arms or legs for ornament, and when the prized feather fillet was not at command, 
a strip of orange colored kapa made a not unbecoming band for the luxuriant growth 
of hair. Another use that has never been superseded was for long white pendants 


FIG. 118. GROUP OF HAWAIIANS ON MOLOKAI. STOKES. 


from the lower. rim of the helmet of calabash figured by Cook as part of the armor of 
the rowers in the King’s war canoe at the time of his visit. The frail helmets, strong 
enough to protect the heads from the sling-stones, then the only range projectile, 
passed away before the frailer kapa had ceased to be, and only the picture of the 
helmet that Cook gives us remains. 

I have spoken in a previous page of the head dress of the Fijian. The 
Hawaiian did not ordinarily wear anything on head, except the thick crop of coarse 
hair, which in the case of a chief was sometimes trimmed into a mahzole or crest, a sort 
of mane. The Fijian, on the other hand, put a very large turban of white masz about 
his abundant hair in a fashion at once graceful and imposing. ‘The portrait of Tanoa, 


196 Ka Hana Kapa. 


king of Bau, father of the more famous Cakobau (Thakombau) who, like Kamehameha I, 
united all the Vitian group under his rule, is from Wilkes. (Fig. 115.) 

I cannot pass over the modern adaptation of the ancient dress of the Hawaiians, 
the more that this is seldom seen in the cities of Hawaii. In the country and on the 
smaller islands it is not uncommon. Mr. J. F. G. Stokes, Curator of Polynesian 
Ethnology in the Bishop museum has, in a recent visit to Molokai, made the photo- 
graphs shown in Figs. 116-118. In the first figure the brachycephalic head is well 
shown, and the simple holoku which has taken the place of the pa’u.*s In the house 
group the transition appears, and the shirt is worn for its warmth, and when the men 
are at work it is generally taken off. The front flap of the malo is much wider than 
was ev régle in the days of kapa: this is especially shown in Fig. 117, where the strong 
wind at the time increased the apparent breadth. This dress has little of the grace 
of the older form of malo, but it is comfortable and sufficient for clothing. The men, 
it will be noted, have taken more kindly to the hat than the women have to the bonnet. 

Next in importance and much greater in size come the Kafa moe or bed kapa, 
the night clothes of the old Hawaiian; this has already been described and some 
additional particulars may be found in the catalogue below. These kapa moe from 
their bulk comprise the greater part of the kapa extant. Of the choice decorated 
kapa there is perhaps not enough in all the museums to make a surface equalling 
that of half a dozen kuina of five sheets each. In use the owner either wrapped the 
kapa around him or shared it with one or more bedfellows on the spacious mat bed: if 
he had occasion to go out of the house in the night, he went with the kapa wrapped 
around him as a rude toga. During the ordinary summer weather along the coast 
the native use of the kapa moe in a close grass house would have been impossible to 
a white man, so warm is this covering. Sleeping in an open cave on the summit of 
Mauna Loa (13,675 ft.) I could not bear a kapa moe over my ordinary clothes, 
although water was freezing in the calabashes at my feet. In the morning the bed- 
inaking in a native house consisted in carefully folding the kapa moe and putting it 
in a safe place. 

Many a sheet of old kuinas has been used, even in these later days, for a wind- 
ing sheet; and specimens of the finest quality have been found in the ancient burial 
caves hidden for generations, but sure to be found sooner or later by accident (as in 
cutting for irrigation ditches or railroads, or by the well thought out plans of the 
professional cave hunter. There is a custom in some lands (I have forgotten where— 


*S A critic, who is more familiar with female dress than I can pretend to be, tells me that the garb in Figs. 113 
and 116 is not a holoku but a muumuu or night dress. As the old natives never had a distinct night dress, and the 
term offered me does not appear in Andrews’ Dictionary, I did not care to make the distinction, as the questionable 
dress is certainly worn in the day time by the women photographed. My readers can make their selection of terms. 


Miscellaneous Uses of Kapa. 197 


it matters not, for it was far from Hawaii) of saving the bridal sheets for the last long 
sleep, and this seems to be in a measure the feeling of the old Hawaiians. 

One more covering of frail mortality remains to be described,—the pall of black 
kapa. It was euphemistic to say as did Kaumualii, the last king of Kauai, “Wait 
till the black kapa covers me’”’,—it was ill-omened to speak directly of one’s death. 
These black sheets are rare in collections, and are very fragile: something in the 
method of dyeing destroys the fibre after a while and the sheet falls to pieces on the 
least disturbance: in a burial cave such a sheet can sometimes be blown about in 
fragments by a breath, although the undyed kapa of the same quality might retain 
its strength for centuries. 

Kapa was used at times for screens and partitions in houses, and on the 
southern islands for mosquito nets, like the ¢zamu of the Samoans. ‘The Hawaiians 
had none of these very troublesome insects before 1827 when they were maliciously 
introduced by a wicked white man. If a white man brought the pest, other white 
men brought mosquito netting far superior to any made of kapa, and so no Hawaiian 
tinamu was invented. 

As a decorative covering colored kapa had a very limited use on walls of houses, 
owing to the general darkness of the interior, although white kapa was sometimes 
used to cover the inside of the thatch. It was used for decoration on the walls of the 
more open lanai or porch, and we have seen the use on the whale boat in which 
Kamamalu was carried in the festival procession. ‘The thick ribbed kapa was used as 
a mat, and a tough leathery variety was used in the early days of the Mission as a 
handsome and suitable material for binding books; a use that survives to the present 
day in the case of the much less durable Samoan kapa. 

A firm, rather coarse, white kapa was used as a covering for the azz or oracle 
in the heiau or temple where the gods were supposed to talk down to the priest or 
chief: as from the windy rain storms it had to be frequently renewed, the color was 
kept fairly white and these obelisks were visible for some distance, and as the temples 
were often along shore or on the high bluffs over the bays, served as landmarks to the 


86 Objection having been made to the use of the words maliciously and wicked by a member of the Publication 
Committee, I add the following account of the introduction of this pest, which all people are desirous of banishing, 
and many governments are trying at considerable expense to exterminate with more or less success. In 1864, while 
the guest of Rey. Dr. D. Baldwin of the American Mission at Lahaina, Maui, I was told by my host that in 1827 the 
master of a trading vessel then lying off the port of Lahaina was refused an unlimited supply of women on his 
vessel, and also found difficulty in getting all the intoxicants he desired. This was the order of the native chiefs, 
but, as usual in those times, it was imputed to the missionary company, and the disappointed mariner yowed yen- 
geance on the supposed disturbers of his revels. On his next voyage he brought a tub of stagnant water with a 
supply of the enemy and landed it at Lahaina. Not long after a native came to Dr. Baldwin with a mosquito, which 
he called ‘‘a fly which bites,’’ and the doctor recognized the insect which he had never seen on the Hawaiian Islands 
before. I leave to my readers whether such an act was malicious, and whether the fellow who did it was wicked. 
I may add that he openly boasted of his deed. 


198 Ka Hana Kapa. 


canoe voyager as in later years the white steeples of the little churches that dotted the 
shores of all the islands served for beacons; these in turn have generally disappeared 
and given place to the smoke stacks of the sugar mills or the irrigation pumps. 

A strip of white kapa tied around a tree indicated that the fruit was kapu; the 
same signal on a stick placed in a path indicated “no thoroughfare”; a white flag, 
hae keokeo, analogous to the bush of the vintner, advertised a place where foz, the 
native bread, was for sale. In general, torn pieces of kapa were used for signalling 
as flags are at present. 


FIG. 119. VIEWS OF A HEIAU ON KAUAI SHOWING THE ANUU. COOK. 


At certain seasons of the year, as at makahzki (first day of the year) and at 
some religious festivals, the images of the gods were dressed in fresh white or red 
kapa with great ceremony, while the old kapa dress was burned, lest some sacrilegious 
person might use it. 

Strips of kapa made excellent cord or twine, or, when twisted or braided, even 
rope; the latter had another use in quite a different line as slow-match, the charred 
end readily catching the fire from the fire-sticks and, slowly consuming, held the fire 
conveniently (Fig. 120). Smaller strips were the wicks for the stone lamps so common 
on the group fifty years ago, the simple cups affording a ready way of increasing 
the light of a lamp by adding wick after wick around the rim. 

Many if not all the Polynesian tribes had kites; their neighbors on the Gilbert 
Islands had a very strong one (B. M. No. 7124), worthy to be considered the father 
of the monoplane; but while this was made of pandanus leaf, the Ze of the Hawaiian 


Kapa Kites. 199 


and the manz of the Maori were both often, if not generally covered with kapa much 
in the way an American boy would use paper for the same purpose. 

In fastening the stone adze (foz) to the handle (az), a fold or two of kapa was 
interposed between stone and wood before binding together with sinnet; when kapa 
could not be obtained hala leaves were substituted, but kapa was preferred. 


FIG. 120. HAWAIIAN FIRE STICKS. 


The white, unstained kapa was used to bandage wounds, and was scraped into lint 
for stanching blood, precisely as we should use cotton or linen cloth at the present day. 
A peculiar strip of bandage was used by the kahuna lapaau (medicine man) as a com- 
pressor to aid delivery in childbirth. In general kapa in its various forms and qualities 
supplied the place of both cloth and paper in the economy of the primitive Hawaiians. 

As an article of property kapa played an important réle, and was folded into 
bundles and stored away for barter or presents. Cook describes in many places the 
way in which choice kapa was given to him both on Hawaii and in Tahiti; in the 
former place it was often wound around his body, but in the southern islands the 


200 Ka Hana Kapa. 


presentation was more formal and peculiar. It was on the eighth of September, 1777: 
“A party of us dined with our former shipmate, Oedidee, on fish and pork. The hog 
weighed about thirty pounds; and it may be worth mentioning that it was alive, 
dressed and brought upon the table, within the hour. We had but just dined when 


Otoo came and asked me if my belly was full? On my answering in the affirmative, 


FIG. 121. A PRESENT OF KAPA. COOK. 


he said, ‘Then come along with me.’ I accordingly went with him to his father’s, 
where I found some people employed in dressing two girls with a prodigious quantity 
of fine cloth, after a very singular fashion. ‘The one end of each piece of cloth, of 
which there were a good many, was held up over the heads of the girls, while the 
remainder was wrapped round their bodies, under the arm-pits. “Then the upper ends 
were let fall, and hung down in folds to the ground, over the other, so as to bear some 
resemblance to a circular hoop-petticoat. Afterward, round the outside of all, were 
wrapped several pieces of differently colored cloth, which considerably increased the 
size; so that it was not less than five or six yards in circuit, and the weight of this 
singular attire was as much as the poor girls could support. ‘To each were hung two 
taames or breast-plates, by way of enriching the whole, and giving it a rich appearance. 


Mexican Stone Beaters. 201 


Thus equipped, they were conducted on board the ship, together with several hogs 
and a quantity of fruit, which with the cloth was a present to me from Otoo’s father. 
Persons of either sex dressed in this manner are called a/ee,; but I believe it is never 
practised except when large presents of- cloth are to be made...... Both Captain 
Clerke and I had cloth given to us afterward thus wrapped round the bearers.” *” 

Before closing this brief notice of the ancient uses of Hawaiian kapa, I must 
notice the modern use (which seems increasing) of the cheap Samoan stamped siapo, 
as a material for wall decoration and for covering books. The pleasing brown color 
and rather fantastic designs make suitable wall hangings for rustic bungalow or 
porches protected from the wind. For book covers the varnished varieties are more 
desirable, and will be found fairly durable. 


It would have been well to insert the following information about the stone 
beaters of Mexico as an appendix to the chapter on Implements, but at the time that 
chapter was written I was ignorant of the existence of such beaters: only in Africa had 
I read of stone as a substitute for wood in this manufacture. I had also not looked 
into the use of bark-cloth in South America, although I have in my collection a thick 
and stiff fragment attributed to that large portion of the American continent without 
more definite information. The Indian tribes on the banks of the Amazon and the 
Orinoco certainly had ample material at their hand for making good cloth and for 
dyeing it as well, but the specimens that have come to my knowledge add nothing to 
the story of Hawaiian or Polynesian kapa-making. 


Stone Kapa Beaters.—Although we have no record of stone kapa beaters 
ever having been in use in Polynesia, they were certainly in use in very ancient 
times in Mexico as well as on the Asiatic continent, and it is:curious that the Mexi- 
can implements closely resembled the universal Polynesian form so far as the patterns 
of the striking surface are concerned. Since the note on page I13 was in print 
Reverend W. D. Westervelt has brought from Mexico and given to this Museum 
specimens of the stone face of the beaters used like the beaters in Japan to make 
paper as such and not the variety of felted vegetable fibre known as kapa and used 
as cloth rather than as paper. 

When Cortez entered Mexico after his wonderful march through the Guate- 
maltecan forests he found an extensive literature of painted books made of paper 
beaten from the fibre of aloe or agave, and the very few of these that escaped the 
destroying hands of the Spanish priests are, like the painted tombs of the kings and 
nobles of ancient Egypt, a record of domestic arts and life. The very hieroglyphs, 


®7 Cook, III Voyage, ii, 50. 


202 Ka Hana Kapa. 


however, mysterious to the unlearned, involuntarily betray secrets of domestic life as 
well as the mysteries of their religion. In this remote island we have no access to Lord 
Kingsborough’s richly filled folios which probably show the stone faces of the paper 
(kapa) beaters in use or complete for use, but the stones themselves tell us enough to 
show that they had handles of some sort for their more effectual use.** These beaters 
are oblong, rectangular stones of the following dimensions and weights. To those 
given to the Museum I have added another still in the possession of the same collector. 


ee 


FIG. 122. MEXICAN STONE BEATERS (OBVERSE). FIG. 123. MEXICAN STONE BEATERS (REVERSE). 


A. 3 in. long; 17 in. wide; 11 in. thick. Weight 10.5 oz. Pattern on one 
side hoopat with 22 flat ridges, on the reverse mole. ‘Three sides of the edge are cut 
with a smooth semicircular groove, rounded at the two corners, while the fourth side 
is flat. Material a reddish stone with quartz-like matrix interspersed with darker 
granules; the material of the three specimens is the same. 

B. 23@in. long; 134 in. wide; 1% in. thick. Weight 7.5 0z. Pattern on both 
faces pepeht with 4 flat ridges. Edges grooved for a third of their width precisely as 
in the former specimen but not so smooth. A ruder and perhaps older specimen. 

C. 3% in. long; 2 in. wide; 1% in. thick. Weight 10.2 oz. Pattern on one 
side epehi with 12 rounded ridges on one side and 19 flat ones 4oopaz on the other. 

These stones seem to have been attached to a convenient, probably flat, handle 
with rounded edges by means of a cord or thong. 


*ST have examined with care the only two codices in the museum library, the Nuttall, printed in 1902, the 
Codex Mogliabecchiano XIII. 3, printed in Rome tgo4 for the Duc de Loubat and by him given to the Museum. 
I have, however, not been able to find a figure of what must have been a common implement. 


CEA TE Ie Ve 


HAWAIIAN ORNAMENTAL DESIGN. 


We have at some length studied the material and its manufacture into kapa, 
and also the implements and coloring matter used in its decoration both in form and 
color, and we have in this volume ample illustration of the results obtained, and with 
these we are able in some degree to compare the Hawaiian work with that of other 
Pacific islanders; it now remains to examine cursorily the nature of the designs used 
by the old Hawaiians, of whose work we have the fullest series, and where it differs 
from the others to at least note the fact; we have not specimens enough of all the 
other groups todo much more. I have already in the introductory lines of this treatise 
disclaimed all exact knowledge of the art of ornamentation, and any intention of 
doing more than directing the attention of my reader to the varieties of line and figure 
found in the old Hawaiian kapa; of the beauty of coloration the plates themselves 
will be the clearest expositor. 

Professor A. C. Haddon of Cambridge has fully treated one branch of the 
subject,” but the explanatory description of the ornamentation of Polynesia has yet to 
be written, indeed has yet to be studied. When I began this series of treatises on 
Hawaiian Antiquities in 1897 it was generally believed that the old Hawaiians had 
left no pictorial records, for their kapa showed none, both human and animal forms 
seemed wholly absent from that class of applied ornament except as echini were some- 
times used as a stamp, but hardly as a pictorial representation, even vegetable forms 
are rare as already noted; but within the past dozen years discoveries have been made 
in caves and on ledges generally submerged by the tides or covered with deposits of 
sand which storms occasionally remove for a sort time, by A. F. Judd Esq., Mr. J. C. 
Farley of Kauai, and Mr. J. F. G. Stokes, Curator of Polynesian Ethnology in this 
Museum, and some others, of most curious delineations of human and animal forms, 
some of them apparently ancient, and all very primitive in style. These are cut into 
the rock (a more or less cellular basalt), and are now being studied by Mr. Stokes, 
and his results will in due course be published,” so that I merely call attention here to 
their existence in face of the fact that they have never appeared on kapa so far as 
known. Hawaiian bas-reliefs and full figures of persons as well as of the gods have 
long been familiar and are sufficient in number and quality to compare favorably with 
the carving of the Maori at the extreme southwest of the Polynesian region. From 


89The Decorative Art of British New Guinea: a study in Papuan Ethnography. Dublin, 1894. 
% Occasional Papers, IV, 4: a portion of the study. (203 ) 


204 Ka Hana Kapa. 


the few specimens that have survived our regret is great for the hundreds, yes thou- 
sands, that were ruthlessly destroyed in the “reformation” of 1819 without the slight- 
est regard for their value as the best of primitive art. This general destruction was 
mostly of idols and occurred before the arrival of the American missionaries, so that it 
cannot be laid to their charge; indeed it was to the early missionaries that we owe 
the few that have escaped destruction. As it is my purpose to illustrate the remains 
of Hawaiian sacred images in another place they are only referred to here to show 
that this people had both knowledge and skill in anthropomorphic sculpture. It is 
generally admitted that the beginnings of plastic art are in the rude images of the 
gods; but it is a curious fact that the Maori of New Zealand, so celebrated for their 
fine carvings made few and exceedingly rude idols while making remarkably elaborate 
images of their legendary heroes who had undergone apotheosis, and also of their 
primary gods, but these were not objects of worship. Even the tiki that surmounted 
the house gables in New Zealand did not come into that category; they were supposed 
to protect in some way the house and its contents, but in the way of amulet or charm 
as the horse-shoe in more civilized lands protects the clothes-line from mildew or theft. 

The Hawaiians had few land animals whose forms might have been reproduced ; 
the whale, dog, pig and rat were the only mammals. The lizard was more or less sacred 
and there are examples of its use in decorating the faces of gods. In the Bishop 
Museum is a figure of Kalaipahoa (No. 132), whose eyebrows are marked by well 
drawn lizards and this figure is repeated on chin and cheeks. Besides this moo the 
mand or shark (an object of worship) was carved both in stone and wood so as to be 
easily distinguished. ‘There were birds, especially sea-birds, of which the natives of 
the Solomon Islands made much use in their carving and flat decoration, but the 
Hawaiians do not seem to have drawn or stamped them on their kapa. Of the 
inhabitants of the sea, so important to them as a food supply, the Hawaiians had 
many whose forms would lend themselves to decorative art, and indeed were so utilized 
by other of the Pacific islanders (Pl. 23). Such were the hammer-head shark, the 
sword-fish, squid, brilliant colored chzetodonts and many others; but our islanders seem 
to have used only the sea-urchins of all the rich assortment in their kapa designs. 
In the vegetable world of which they knew so much, we find none of the attractive fern 
leaf prints so characteristic of Tahitian decoration, nor the fruits not uncommon else 
where; yet the ferns of the Hawaiian group are very beautiful, and the flowers and 
native fruits would elsewhere have been sought for their decorative qualities. 

I have endeavored to show that the Hawaiians had both the knowledge and the 
means to produce designs representing natural objects both on the flat and in the 
round in wood and in stone. They certainly did not possess the desire for decorating 


Designs on Feather Work. 205 


their implements whether of war or of peace so generally shown by the Papuans of 
the western Pacific, nor the more subdued talent for decoration shown by their kins- 
men to the southward, the Maori of New Zealand, the Tongan, Marquesan and 
Mangaian. The exquisite diapers carved by the latter on ceremonial paddles, etc., 
are unrivalled in Polynesia; so are the Marquesan war clubs, and the New Zealand 
house and canoe carvings. 

All these things are, however, by the way which leads only to the Hawaiian 
decoration of flat surfaces in their desire to make these surfaces more attrative and 
distinguished. I have already” called attention to the patterns used in their remark- 
able feather-work, the triangles, crescents and circles of color contrasting with the 
solid ground in the cloaks and capes, and have tried to show that these commonplace 
figures when altered by the folds in which these robes were worn became most strik- 
ing and attractive. If these costly and labor-filled constru@ions were to serve as 
mats or as wall tapestries they would generally be considered of poor design; in the 
ever moving folds of a garment hanging from the shoulders of an active man they be- 
came most fitting. Here the material on which the design was worked did not in the 
least interfere with the free expression of any artistic impulse: almost as freely as the 
tapestry needle traced the figures on the medieval “cloth of Arras” might the deft 
fingers of the local artists have traced pictures on the net work to which the feathers 
were attached; the mosaic feather-work of the Mexicans proves this.’ One other 
thing is to be noted in the feather decoration; the Hawaiians had brilliant colors and 
used them when they saw fit; the rich orange of the mamo, the scarlet of the zzwz, the 
crimson of the afapane, the green of the ou, and the clear yellow of the vo were cer- 
tainly brilliant colors and well used. 

In another flat decoration, that of mats, it has been shown’ that the material 
decidedly curbs the fancy and, as they were braided in and neither stamped nor painted 
on the surface, they were geometric in form as shown in Fig. 124 which is borrowed 
from the memoir referred to. These simple designs seem well suited to mats, far more 


* Hawaiian Feather Work. Memoirs I, part I. 


That the germ, at least, of pictorial decoration was in the Hawaiian artist seems to be shown in the very 
remarkable quilts made by these people since cotton cloth and sewing machines haye been brought to the islands. 
These quilts form the treasure of the housewife much as the choice kapa of the olden time were cherished. When 
the missionary ladies taught the native women to sew and make quilts the traditionary patchwork of New England 
was the sampler; but the native women had no store of waste pieces as had the American housekeeper, and they 
had to buy at the stores. It was considerable and careful work also to fit the squares and triangles accurately. When 
the little hand sewing machine came to the islands all this was changed, and the quilter sewed on patterns of her 
own choice, and very striking these patterns often are. Turkey-red seems the favorite color, but the interesting 
part is that in adopting foreign methods of manufacture they did not also take foreign designs. Bread-fruit leaves, 
are a yery favorite selection, so are the radiating form of squids, and I have seen a most elaborate design of a horse- 
man lassoing a bull in excellent form. 


93Mat and Basket Weaving of the Ancient Hawaiians. Memoirs IJ, part 1 (1906). 


206 Ka Hana Kapa. 


so than the life-like lion, tiger or dog seen on the mats woven in American or English 
looms not many decades ago. 

The kapa ornamentation is purely geometric (the exceptions are few, and as 
far as known will be noted), and it is not symbolic; it is not intended to convey any 
esoteric meaning, it is simply to please the eye as the perfumes with which the kapa 
was impregnated were to tickle the nostrils. If any of my readers choose to see a 
cloud or a whale in any of the Hawaiian kapa designs they are of course at liberty to 
do so; some of the figures may be “very like” either. In naming the bent knee pat- 
tern it was not meant that the zigzag presents a human knee, but merely that the 
shape reminded one of the knee in such a position; it was never a symbol of a bent 
knee, or worship in the sense that the Egyptian hieroglyph for water (also a double 


zigzag) represented the motion of waves. 


i 
ul il 
ul 


FIG. 124. GEOMETRIC DESIGNS USED IN MAT WEAVING. 


For convenience we may adopt a classification of Hawaiian kapa designs which 
has already been briefly suggested in the description of marking tools and is now en- 
larged to put in more orderly form before my readers the extent and variety of merely 
geometrical printed or ruled designs used by the Hawaiian kapa makers and printers of 
earlier days. I include the designs of the other Polynesians only by way of side-light. 


1. Lines straight, either single or in groups and parallel. Pls. E, O, Q, R, 
S, W, 38. This, although the simplest, could not have been the earliest form of deco- 
ration, for it requires the use of a ruler or straight edge; a rude curve is easier to the 
untaught artist. 

2. Lines straight with abrupt variation (Pls. 29 and O); unexpected termina- 
tions (Pl. 47), or the common zigzag (Pl. P). These add great variety to the mere 
ruled line. 

3. Lines straight inclined to each other (Fig. 62, Pl. 39). 

4. Lines straight in two or more series crossing each other at right angles 
(Figs. 52, 64), or any lesser angle (Figs. 44, 60, Pl. H). 


Classification of Varieties. 207 


5. Any of the previous classes with the interspaces filled (Pl. B, T). This is 
a very common and often effective design; where the spaces were small the color was 
added by the single pen, if larger by the hala brush. 

6. Lines straight, single or clustered interspersed with minute figures or dots 
(Fig. 126, Pl. 46, upper figure). 

7. Geometric figures stamped either in block (Pls. A, G) as borders (Pls. B, K, 
L, M, N), or in rhombs, zigzags (Pl. 44), covering the greater part of the surface of 


FIG. 125. THE BENT KNEE PATTERN. 


the sheet. Some specimens of this last variety show not merely exactness of execu- 
tion, but great patience in covering seventy or eighty square feet of kapa, the stamps 
in two or more colors (Pl. G). 

8. Detached figures, usually geometric (Fig. 127, Pls. K, W), sometimes (in 
more modern examples) in rude imitation of natural objects (Fig. 69). 

g. Figures (stamped) of irregular outline arranged as borders or transverse 
bands (Pls. A, G, L, N). 

10. Stamps of natural objects (Pl. F). As we have seen in Fig. 4 the Tahiti- 
an fern stamped, and in Fig. 7 the end of a bambu joint, so in Hawaii natural objects 


208 Ka Hana Kapa. 


as a sea egg (Echinus), or a flat fish hook, were sometimes used, but never with the 
artistic effect of the Tahitian printer. 

11. Figures or lines arranged in curves (Fig 68, Pl. 40). 

12. Masses of color of no definite shape formed by beating colored rags of kapa 
into the wet sheets (Pl. 35). 

13. Dots or blotches distributed evenly over the entire surface of the sheet or 
in bands straight or zigzag (PI. 41). 

14. Painted kapa (PI. I). 

All these may be monochrome (commonly black or red) on various grounds, 
white, yellow, buff, pink. They may also be combined in many ways. It is not 


FIG. 126. THIN YELLOW KAPA STAMPED BLACK AND RED. BRITISH MUSEUM. 


always easy to see how some of the patterns could have been printed: the “black lace” 
specimens (Pl. 43) for instance, but when this is old or has been kept ina damp place, 
as in some burial caves, the combining paste loses its adhesiveness and two layers or 
sheets appear, one white or light brown, the other entirely black pun@ured with a 
pointed stick of circular or elliptical section. When these thin sheets are united by 
a paste of pra ( Tacca pinnatifida) a beautifully uniform surface is the result. While 
this ingenuity seems noteworthy, and so far as I am aware is not found elsewhere in 
the tapa-making regions, there may be other equally ingenious processes of which 
only the results, not the processes, are known to me. 

Of similar construction is the pattern in the upper half of Plate K, only here 
three sheets are required, two of them almost as thin as the beautiful Aaluhalu 
(Fig. 128), between which the third, colored and cut into strips, is sandwiched. The 


Illustrations of Kapa. 209 


FIG. 127. BLACK STAMPED ON OHELO COLORED GROUND. B. P. B.M. 2444. 


Se 
AS 


FIG. 128. KAPA KALUKALU. B. P. B. M. 2466. 


Memoirs B, P. B. Museum, Vou, III.—14, 


210 Ka Hana Kapa. 


delicacy and beauty of the resulting fabric can hardly be seen in the illustration which 
is photographed from kapa No. 2505 in this Museum. I think the fabric was beaten 
again while still moist and before the thin paste had hardened, it is so firmly united. 

A notable peculiarity of some Hawaiian patterns is the fact that the impres- 
sions of the stamp form a background while the interstices become the prominent 
figures. This is shown in the reduced photograph of kapa No. 2469 in this Museum 
which is also shown in color and full size 
in Pl. Z (frontispiece). In this (Fig. 129), 
the curious hooked forms were at first a 
puzzle, and as they were usually called 
the ‘“‘fish-hook pattern” a vain attempt was 
made to find some form of hook that could 


have suggested the pattern. Mr. Stokes, 


of this Museum, at last solved the riddle 
very practically by making a stamp of 
which the impression is given in the two 


detached parts of Fig. 130; the upper 


showing the careful arrangements of simi- 
lar adjacent impressions. As this is actual 
size it will readily be seen how the result 
on Pl. Z is obtained. This was an old time 
method, all the specimens known being 
small, choice fragments bearing marks of 
great age and careful manufacture. As the 


size of the stamps precluded the use of 


native bambu, wood was used and we do 


not have to discuss whether that grass 


FIG. 129. KAPA. B. P. B. M. 2469. 


was indigenous or introduced. In Pl. Z is 

also shown (No. 3) another specimen stamped like the last with a large wooden stamp, 
but here the stamp is the important part and not the interstices. Still a third has 
recently come into the possession of this Museum and belongs to the former class; it 
is shown in Pl. ZZ (facing p. 212). 

All these are on thin smooth waoke kapa of a buff color tinted in part with noni 
root. As this color is rather fugitive the preservation on all these specimens is remark- 
able and shows that they have been carefully kept from light. The method of relieving 
the heavy black of the stamp by easily bored round holes should be noted. In the third 


example the curved sides of the stamp trace the sides of the prominent pattern. 


Most of Cook’s Kapa Had Plain Nao. 201 


In studying the Cook kapa, by which is meant the specimens brought home by 
Captain James Cook, and scattered in various ways so that no complete set remained 
for the British Government or any one museum, it was found true of the specimens 
in the author’s colle@ion, numbering about one hundred and fifty, that the ao or 
pattern produced by the beater on the compressed fibre, and best seen by transmitted 
light, is mole or smooth in the Hawaiian as well as in those from the southern islands, 


FIG. 130. STAMP OF NO. 2469. 


Tahiti, Samoa, Tonga, Fiji, etc., with very few exceptions, and these comprised none 
of the more complicated designs so distinct a mark of the Hawaiian beaters; only the 
hoopat, which is common to all races using kapa. 

This was certainly an interesting discovery, and so far as the plain, undeco- 
rated kapa is concerned made it a difficult task to determine the origin of the speci- 
mens as the mole and hoopai beaters and the material beaten as well as the general 
process of manufacture were the same in all groups. With the decorated specimens 


the case was different. 


212 Ka Hana Kapa. 


Why do we find none of the products of the carved beaters in which the 
Hawaiian kapa makers delighted? Is it possible that all the remarkable patterns on 
these beaters originated during the three score years following Cook’s advent in which 
the manufacture flourished? This supposition is negatived by the existence of many 
specimens with the best patterns made within thirty years after Cook’s last visit, as 
may be noted in the following catalogue of specimens studied. Other specimens with 


FIG. 131. A REMARKABLE HAWAIIAN KAPA. ‘BRITISH MUSEUM. 


almost all these beats have been found in burial caves that appear on satisfactory 
evidence to be traceable at least as far back as the day when the great Navigator 
perished on the shore of Kealakeakua Bay. It is true that the mole kapa was gen- 
erally preferred for decorative purposes, ruling especially, and the decorative speci- 
mens would naturally be most valued by collectors of that early day. Also the plain 
kapa, if collected, may have perished by neglect, and in support of this theory it 
may be added that there are very few specimens in the collection mentioned of the 
mamakt kapa, a kind very generally in use by the common people in those days. 


Memoirs BisHorp Museum, VOL, III. PLATE ZZ. 


HAWAIIAN KAPA 


ft 


British Museum Tapa. 213 


It seems probable that the designs on the Hawaiian beaters marked no sudden 
late renaissance, but existed before the time of Cook’s visits, developing by degrees. 
It may be added in regard to the kapa in the Cook collection that the bulk of the 
pieces from the Hawaiian Islands came from the southernmost, Hawaii, with a few 
from the island of Kauai (at which he first touched) and none from Oahu, Molokai 
or Maui; the two former being noted for the good quality of kapa made there. 

I regret that the illustration of the British Museum kapa, Fig. 131, does not show 
the details as sharply as the original photograph sent to me from the British Museum, 
but the regret is stronger that a specimen of the original kapa is not in my possession, 
for the “Thin Tapa stamped in white, black and brown” is a very remarkable piece. 
The photograph shows it to be a portion of a pa’u or malo (we have no scale); if the 
former, the width must be at least thirty inches; if the latter, not less than nine or ten. 
In either case the photograph is greatly reduced, and the original would be far easier 
to understand, being on a much larger scale. This kapa was well bleached and very 
white (the Hawaiians had no white paint so far as known), and the broad dark longi- 
tudinal bands (in the figure) are composed of closely ruled transverse undulating 
lines; similar but larger lines in black form the lighter bands, while the lines of what 
appear to be white dots in the darker bands are punctures in diamond-shaped pieces 
of the same brown as the transverse zigzags (possibly these are black, as the photo- 
graph does not sufficiently differentiate between a rusty black and a faded brown), and 
these pieces seem to be pasted on or beaten in to the white kapa. Unfortunately these 
tiny pieces do not appear in the figure. 

Whatever the process used, and I do not say that the actual kapa would not 
bear a different interpretation from this made from a photograph so greatly reduced, 
the specimen, however made, shows great skill and patience in the chiefess who decor- 
ated this bark-cloth; would that her name might have been preserved as the names of 
the old carvers of wood among the Maori are preserved! 

It need not be supposed that the thirty or more yards of cloth sometimes com- 
posing a pa’u were all decorated with such painstaking care; only two or three yards 
which appear on the outside when the garment was worn need be so decorated. 


Cis ARIUS WAL 


VOCABULARY OF HAWAIIAN KAPA TERMS. 


I have decided to print separately the lists of Kapa terms in the principal 
Polynesian dialects, but will supplement these by a comparative table of the various 
names for the principal implements and materials. ‘The list of dictionaries and other 
authorities quoted will be found below. Few of the Polynesian dictionaries, or rather 
vocabularies, furnished many technical terms. 


Aahu a kind of kapa; waoke bark soaked in water; to put on kapa, to cloth one. 

Aeokahaloa_ kapa made of waoke and colored with charcoal a blue gray (PI. BB, 8). 

Aha name of a kind of kapa made on Molokai. 

Ahiahi faded colors; the uncolored portions of dyed kapa. 

Ahunalii a colored kapa. 

Akala Hawaiian raspberry (Fig. 83, p. 136); pink kapa made from it or colored 
like the berry juice. 

Akeakea term applied to faded kapa. 

Akoa snuff-colored kapa dyed with akoa (PI. AA, 8). 

Alaalawainui a small tree whose fruit is used in dyeing. 

Alaea red ochre used as paint when mixed with kukui or kamani nut oil. 

Aleuleu old kapa; all kinds of poor kapa; same as Apeupeu. 

Alolua kapa printed or painted on both sides. 

Amaumau a fern (Sadlerza cyatheoides) used as sizing or also as a reddish dye 
(Fig. 96, p. 161). 

Anoni_ kapa made by mixing bits of variously colored kapa in the beating (Pl. 35, 1). 

Apeupeu inferior kinds of kapa; see Aleuleu. 

Apikipiki variegated kapa. 

Awapuhi Zngzber zerumbet, Ginger; used as a perfume (Fig. 100, p. 166). 

Awelu torn or ragged kapa. 

Eleuli a perfumed kapa (from Puna?). 

Haa a plant (Axntidesma platyphyllum) used in dyeing. 

Hai goddess of the kapa beaters. 

Haimanawa rather thin white kapa. 

Halakea kapa dyed with zzu (coconut). 

Hale kua or kuku_ house where the women beat kapa in wet weather. 


Halua striped; a pattern on beaters, two sets of parallel lines crossing at right angles. 
(215) 


216 Ka Hana Kapa. 


Hamoula_ kapa stained or painted red like kuaula. 

Hana _ white or waoke kapa (a doubtful name). 

Hanina ancient name of a yellow pa’u (?). 

Hau a tree (/7/zbescus teliaceus); the bark sometimes beaten into a fine kapa (Fig. 82, 
p- 134). 

Heahea to stain or print cloth red; same as ahea. 

Hili black dye from kolea (Suttonia sp.) bark; general term for barks used as dye. 

Hiwa aclear black kapa that might be offered to the gods. 

Hoa to beat kapa (or anything else); see Hohoa. 

Hoahoa around mallet for the first beating of kapa; see Hohoa, Pl. 1. 

Hoai to join two pieces of kapa by sewing. 

Hohoa to beat kapa after coloring to soften it; to smooth kapa by beating; also 
the instrument. 

Holahola to smooth out the creases in kapa. 

Hole to cut grooves in a kapa beater. 

Holei_ tree of which the bark and roots dye yellow (Ochrosia sandvicensis, Fig. 92). 

Holoku a long flowing garment with sleeves, Ps. 109:29; name of the gown 
introduced by the missionaries; a word made for the translation of the above 
scriptural passage. 

Hoolei see Holei above. 

Hoopai to strike; the name of the most common pattern on beaters (Fig. 34, No. 6). 

Huikahi a short malo or waist cloth. 

Hulali a shining white kapa. 

Humuna a seam. 

Ia or Ie a kapa beater (Pls. 2-7). 

Iekuku the more common name for a kapa beater. 

Iho _ the collective name for the inner kapa sheets of a kuina or kapa moe. 

Tliki a varnish made of kukui bark, lani, opumaia, etc.; also banana bud. 

Tliluna the outer bark which is scraped off in kapa-making. 

Ka’e_ the inner bark of waoke. 

Kaee_ hard or stiff, as new kapa or newly dyed kapa. 

Kaiaulu same as kilohana, the best of a set or kuina of kapa moe. 

Kalukalu a very thin, gauzelike kapa. Fig. 128 the most delicate made. 

Kamalena a pa’u or other kapa dyed yellow. 

Kapa _ cloth beaten from the inner bark of various trees. 

Kapa kuina from kapa and kui to stitch; the five sheets of a kuina. 

Kapa moe a set of sheets of kapa for bed covering united at one edge by sewing. 

Kapaoa or Kupaoa Razllardia scabra; one of the Composzt@ used to scent kapa. 

Kapeke a malo dyed in different colors on the two sides. 

Kawau 2yronia sandwicensis; wood much used for the kua on which kapa is beaten 
(Fig. 105. p. 179). 

Kelewai_ kapa dyed in mud (kele). 

Kihei a kapa garment used as a shawl for protection from cold or rain. 


Vocabulary of Kapa Terms. Dy] 


Kikama white kapa made from waoke. 

Kikeekee a zigzag line in decoration much used by Hawaiians. 

Kikiko spotted or dotted kapa (PI. 41). 

Kiokio variegated kapa. 

Kiolena a place for coloring kapa; to spread kapa to dry in the sun. 

Kiwaawaa rough kapa. 

Kiwawa waoke partly beaten into kapa. 

Kohu coloring matter for printing kapa. 

Kolea Suwttonta (Myrsine) Lessertiana, a shrub with red and astringent bark, used 
to dye black or red, according to Hillebrand (Fig. 89, p. 148). 

Kopiko Straussza sp., a tree whose wood is used for making kuas (Fig. 104, p.177). 

Kopili a small white kapa put on idols; a variety of waoke; see Oloa. 

Kou Cordia subcordata (Fig. 90, p. 151); a valuable tree; wood ornamental and dur- 
able; leaves used as dye. 

Kowaha a variety of waoke. 

Kua the anvil on which kapa was beaten (Fig. 32, p. 77). 

Kuau_ the mallet for beating kapa; same as Iekuku. 

Kuaula red, thick kapa, usually ribbed. 

Kui to beat; also a needle. 

Kuina (wz and ava uniting) a set of kapa moe sewed together at one side, usually 
five sheets of which the uppermost is decorated and called £z/ohana; a seam. 

Kukaa a bundle of kapa. 

Kukai to plant waoke by the sea. 

Kuku the operation of beating kapa. 

Kukui Aleurites moluccana (Fig. 84, p. 139); the candlenut tree, used extensively 
as a dye. 

Kuloli a variety of waoke found at Palilua, Hawaii. 

Kupalu to beat kapa. 

Kupaoa see kapaoa, a plant used to scent kapa. 

Kupenu to dip kapa into a dye; to smooth out kapa. 

Kuponua second quality of waoke. 

Lalani kapa marked with rows; striped kapa. 

Lapa the carved bambu strips for printing kapa; same as Ohekapala (Figs. 65, 66). 

Tapalapa the torn end of a piece of kapa. 

Lauhuki a god of the kapa-makers; the office of the person (girl) who keeps the 
kapa wet during the beating. 

Laulole waoke, literally the cloth tree. 

Lena or Olena Curcuma J/onga, turmeric; the tuberculous root used to dye or 
paint yellow. 

Loli to spot kapa; same as kikohu, e nionio. 

Imalua soft, flimsy kapa. 

Luu or Hooluu to dye. 


218 Ka Hana Kapa. 


Maaloa Bwhmeria stipularis; mamaki (Fig. 80, p. 130); from the inner bark a 
durable kapa was made. 

Maaweawe spotted; marked with small variation of color. 

Mahiehie to dye kapa with fast colors. 

Mahuna _ small spotted, used for covering idols; kapa like paipaikukui; a thin kapa 
much used in sorcery, often oiled. Mahunalii is another form. 

Maiele Cyathodes Tameiameie. 

Maihi or Maihe to strip off bark for kapa-making. 

Maile <Alyxia oliveformis,; a trailing plant much used by natives for its perfume 
(Fig. 98, p. 164). 

Mao Abutzelon tncanum, asmall malvaceous plant used to dye green (Fig. 86, p. 143). 

Mamaki /ipturus albidus (Fig. 79); a plant used extensively for making kapa. 

Maokioki spotted, variegated. 

Moelua a red kapa. 

Mokihana /e/ea anisata; a shrub much used to scent kapa, the capsules to make 
leis (Fig. 97, p. 162). 

Momo _  kapa of poor quality. 

Moomoo_kapa of second or third rate; kapa not much valued. 

Nahenahe a soft kapa. 

Nanu Gardenia Remy (Fig. 88, p. 147); a tree with fragrant flowers; the pulp of 
fruit dyes yellow. 

Nao a streak on kapa; the pattern formed by the beater. 

Nau Gardenia Brigham; the pulp around the nut dyes a good yellow; flowers 
fragrant. 

Ninio or Paninio to stamp kapa. 

Nio a handsome kind of kapa. 

Noni Morinda ctrifolia; a small tree, the bark used to dye brown, the root red 
(Fig. 87, p. 145). 

Ohekapala strips of bambu carved on one end for printing kapa (Figs. 65, 66). 

Ohelohelo light red kapa; color of Ohelo (Vacctntum reticulatum). 

Ohia ai Lugenta malaccensis (Fig. 93, p. 157). 

Ohia ha Lugenia sandwicensis; also Metrostderos polymorpha. 

Ohiwaoke a bundle of waoke. 

Ohuohu a blackish kind of kapa. 

Okena or Olena Cuwrcuma Jonga, turmeric, much used in dyeing yellow. 

Oloa a small white kapa to cover a god when prayed to; waoke bark soaked soft. 

Omoha a figure used in printing kapa. 

Onio spotted kapa (PI. 41, 1). 

Onionio spotted, striped or variegated kapa. 

Onohiula a deep red kapa. 

Opi folds or creases in kapa. 

Opihi a stamp on kapa; a limpet. 

Ouholowai mamaki kapa dyed differently on the two sides. 


Vocabulary of Kapa Terms. 219 


Ouou the sound of the kapa mallet in beating. 

Pahupalapala container for dye or paint for printing kapa. 

Pai to stamp. 

Paihi Metrosideros polymorpha; Ohia ha; the bark of this tree yields a black dye. 

Paina fine, white kapa. 

Paipai kapa beating; to peel off tree bark. 

Paipaikukui a pale yellow kapa made on Molokai. 

Paiula kapa made by beating rags of red with new white waoke; a rack for spread- 
ing pa’us. 

Pake a soft and flexible white kapa. 

Paku sewing two pieces of kapa together or uniting by beating when wet. 

Palaa Davallia tenutfolia,; a fern used for dyeing red; any dark color (Fig. 95, p. 160). 

Palaholo paste made from the stipites of Amaumau, Sadleria cyatheotdes (Fig. 96, 
paerGue)s 

Palapala to print on kapa. 

Palapalani to print kapa and put it out to dry. 

Palupalu name of a yellow pa’u. 

Panai to mend kapa or patch holes left in the beating. 

Panainai to lengthen kapa by splicing. 

Paniki dye for kapa; waz hoohinuhinu. A varnish, perhaps, rather than a dye. 

Panionio or Paninio to dye with gay colors. 

Papalu an apron of kapa. © 

Papanoanoa full of holes, as lace kapa (PI. 36, 2; Pl. 43). 

Pau (ke) a poor kapa; one of no distinct color. 

Pehuakoa kapa colored with koa bark. 

Pelehu a kind of kapa made on Kauai. 

Pepele a kapa made somewhere on Kauai 

Pia the starch or paste from Zaca pinnatifida. 

Piai a name for the kukui nut, Aleurites Moluccana. 

Pilati gum of any tree; especially of the kukui. 

Pinana when the pattern on kapa changes direction abruptly; a favorite trick 
(Pl 26; 2): 

Pinauea a kind of kapa. 

Pipi the act of sprinkling kapa with water during the beating. 

Poaaha the bark of young waoke; bark of superior quality or fineness of fibre. 

Pohaka a printed kapa. 

Pohoala a single kapa; a remnant. 

Pokohukohu or Pukohukohu the red dye of the root bark of noni. 

Pola _ edge or end of kapa; the part of the ma/o that hangs over the girdle in front. 

Poniponi kapa painted with various colors. 

Popolo lumae Pkytolacca brachystachys, berries used as dye. 

Poulu a shrub or small tree from whose bark a kind of kapa was made. 


220 Ka Hana Kapa. 


Pouleulu (po intensive, ule penis, ulu breadfruit) male flower of breadfruit used 
in kapa. 

Pisakai aired dye. 

Puakeawe Cyathodes Tametamete. 

Puaniu kapa colored with coconut. 

Puhionio to color in spots; to stamp with different colors. 

Puili a small cord; one of the patterns of a beater (Fig. 35, Nos. 9, 10). 

Pukapuka a kind of lace kapa, see Pl. 43. 

Pukohukohu_ kapa colored with noni. 

Pukupuku crumpled kapa; a cr€pe. 

Pulohiwa shining black kapa. 

Pulou black or dark-colored kapa, the former used at funerals. 

Puloulou bunches of black kapa; a wisp of kapa on a pahu (stick) as a sign of kapu. 

Pulu to soak kapa material until soft; also the soaked material. 

Pulupulu fine scrapings of kapa for lint or tinder. 

Punana a kind of white kapa where the fibres show like the twigs of a bird’s nest. 

Punoni red dye of the noni; kapa so dyed. 

Puolo kapa folded and bound up for storage or the market. 

Pupupu a white kapa used for pa’u; the small shed used for beating kapa in; a 
heap of refuse kapa. 

Puukukui a kapa made of waoke and pouleulu. 

Uahaao a pattern (vao)=halua upena. 

Uaua a yellow pa’u dyed with olena (turmeric). 

Uhele or Uhole the process of stripping bark from a tree for kapa-making. 

Uki Deanella nemorosa (Fig. 91, p. 153); the berries used as a light blue dye for kapa. 

Uwahaao = Koeau. 

Uwiki full of small holes either from over beating or to make lace kapa. 

Waiele any dark-colored dye for kapa. 

Waihooluu a general term for a dye 

Wailiilii thick yellow kapa, striped. 

Walahee /lectronta odorata; a shrub whose leaves were used for dyeing black. 

Waoke Brousonettia papyrifera; the paper-mulberry; also written wauke (Figs. 
74, 75) PPp- 120, 121). 

Wea or Weo ared dye. 

Wehiwehi_ kapa with black stripes (Fig. 19, p. 42). 

Weluula kapa made from bits of red beaten up with waoke. Same as paiula. 


Andrews, Lorrin. A Dictionary of the Hawaiian Language, to which is appended an English-Hawaiian Vocab- 
ulary and a Chronological Table of Remarkable Events. Honolulu, 1865. 


VOCABULARY OF SAMOAN KAPA TERMS. 


Aasi_ to scrape /wfuga, the paper-mulberry, with a shell asz. 

Afu a wrapper of szapfo used as a sheet. 

Afuloto bedclothes of siapo, the Hawaiian kapa moe. 

Ago turmeric, Curcuma longa; see Lega. 

Ailua to sew two pieces of siapo together. 

Ale, Aleoa the second coat of coloring or varnish on siapo. 

Aoa the banyan fig; the bark used as fibre, the fruit as dye (Fig. 78, p. 126). 

Asi sandal-wood; a shell used to scrape the outer bark from tutuga. 

Aumalute a rod of tutuga stripped of its bark. 

Aute Chinese rose, /7zbzscus rosa-sinensis, the flower juice colors black. 

Avapui ginger, Zngiber zerumbet (Fig. 100, p. 166). 

Elei to put the color on siapo. 

Eleiga a stage in the preparation of siapo. 

Ema a shining black siapo. 

Epa Fauepa a pile of mats and siapo on which the body of a dead chief lies in state. 

Faafeia ornamented siapo. 

Faagatagata to mark siapo like a snake; with undulations. 

Faalau a large siapo; one much above ordinary size. 

Faanifonifo siapo with a toothed border; or serrate. 

Fafai_ to scrape the outer bark from tutuga. 

Fatuvalu an inferior siapo, neither well beaten nor well colored. 

Fauepa a heap of siapo serving for the bier of a dead chief. 

Feia or feie ornamentally marked siapo. { 

Felanuai variegated siapo. 

Gafigafi old siapo used as a wrapper for valuable articles. 

Gatu old siapo used for wrapping or as rags in sickness. 

Ie the grooved mallet for beating out siapo. 

Ietosi the grooved mallet for beating tutuga. 

Teie a rag of siapo. 

Taei native clothing (of siapo). 

Taua white siapo not finished. 

Tauua leaf of paper-mulberry; bark of the ua prepared for making native cloth. 
Syn. tutuga for which it has been substituted on account of superstitions connected 
with fishing. 

Lavalava a printed loin-cloth. This is much the same as the Hawaiian pa’u. 

Lega a paste made of turmeric to dye yellow. 

Leuleu or leveleve an old siapo. 

Lufa a large black siapo. 

Lulu to sprinkle siapo while it is being beaten. 


Malo a narrow girdle, the only garment worn in battle. 
(221) 


222 Ka Hana Kapa. 


Mati the tree /vcus profiva and its fruit. 

Maunu a young plant of tutuga, not grown sufficiently for barking. 

Milo a malvaceous tree common in the islands, 7hespesca populnea. 

Molemole smooth, soft; the smooth surface of the beater. 

Nonu a species of Morinda; the Hawaiian non, M. cttrifolia (Fig. 87, p. 145). 

Oa a tree, Bishofia javanica, from which is obtained a brown dye for siapo 
(Fig. 85, p. 141). 

Oai to mark or paint siapo. 

Oaiga marking native cloth or siapo; same as Elei. 

Otuotu stiff as applied to siapo. 

Pala a black mud used as dye. 

Paoa to use too much oa in coloring siapo. 

Papanu to be overloaded with color; common condition of cheap modern siapo. 

Papata large pattern; of coarse texture. 

Penupenu soft siapo, soft from usage. 

Piasua arrow-root cooked with juice of coconut; pia the ancient name of Zacca 
pinnatifida. 

Potu a siapo screen behind which an aitu spoke; the white border of siapo. 

Pulepule striped siapo. 

Pulupulu a large piece of siapo to wrap around the body. 

Punefu old dirty siapo (from its bad smell). 

Punipuni to close up holes in tutuga. 

Sei a small curved stick used as a stretcher for siapo. 

Sema a red siapo. 

Siapo cloth made from Broussonetia; also mosquito net made of the cloth (tainamu). 

Sisili a maker of turmeric; this dye was used among the Pacific islanders for many 
purposes. 

Soaa_ the mountain banana, Musa uranospatha. 

Soliga a present in siapo given by a virgin. 

Suluga siapo which relatives dwelling in a distant land bring at the death of their 
kinsman. 

Suni the piece of tutuga used to sponge up the scented oil as it forms. 

Taafiafi rags of siapo. 

Tainamu a mosquito net made of siapo. 

Talama to give a second coat of black varnish to siapo. 

Taloa a siapo of one color. 

Tapa a white border of siapo; to call or summon. 

Tasina a striped siapo (from Fiji). 

Tata the rubber for putting on the colors of siapo. 

Tauanave Corda subcordata (Fig. 90, p. 151). 

Tauapoapo to adjust a bad wrapper of siapo to cover the body. 

Tiputa a woman’s upper garment, Tahitian (Fig. 3, p. 11). 


Vocabulary of Kapa Terms. DBR 


Tou a tree, Cordia subcordata; to prepare siapo with tou. 

Tuapipi the second growth of paper-mulberry. 

Tusi to mark or print siapo. 

Tusitusi striped siapo. . 

Tutu to beat tutuga, Hawaiian kuku. 

Tutua the wooden block on which tutuga is beaten. 

Tutuga Broussonetia papyrifera, the paper-mulberry; the prepared bark of the same. 
According to W. von Bulow, the term applies to bark of Pepturus tncanus. Arch. 
intern. d’Ethnog. xii, 67. 

Tutututu marked with speckles. 

Ua (tough, tenacious) syn. of tutuga; the bark scraped for making siapo. 

Uaulu bark of young bread-fruit. 

Ululima a siapo fifty upeti wide. 

Uluselau a siapo a hundred upeti wide. 

Ulututuga a bundle of scraped bark of tutuga. 

Upeti form used for printing siapo (Fig. 16); used as a measure for the cloth. 

Vaisa the preparatory wash (mordant) used to fix a dye. 


Pratt, Rev. George. A Grammar and Dictionary of the Samoan Language. Second Edition edited by Rev. 
S. J. Whitmee. London, 1878. 


Violette, Le P. l. Dictionnaire Samoan-Francais-Anglais et Francais-Samoan-Anglais. Paris, 1880. 


VOCABULARY OF TONGA KAPA TERMS. 


Ega Curcuma longa, turmeric, the Samoan lega. 

Falo to smooth out wrinkled gatu. 

Fau /7/ebiscus teliaceus, the Hawaiian hau (Fig. 82, p. 134). 

Fukai tuitui soot of tuitui nuts used as coloring matter. 

Gatu cloth made of hiapo. 

Hea tree whose juice furnishes a varnish for gatu. 

Hiapo fibrous bark of paper-mulberry; Samoan siapo; cloth of a brown color. 

Holo old gatu; cloth soft from use. 

Ike a beater; the Hawaiian ie. 

Kalalu the rustling of gatu. 

Kapa i gatu the border of a sheet of gatu. 

Kie fau cloth made from fau bark as at Futuna and elsewhere. 

Kili bark in general; Hawaiian ili. 

Kofe bambu, the Hawaiian ohe. 

Koka ficus prolixa, the bark yields a brown-red varnish for gatu. Koka aga to 
paint gatu. 

Kumi black gatu. 

Lena bark of hiapo; in Hawaiian the word means yellow or turmeric. 


224 Ka Hana Kapa. 


Maukapu  gatu cut through the middle. 

Molemole smooth, as in Hawaiian and Samoan. 

Nono Morinda citrifolia. 

Pakoko dry bark of hiapo not yet beaten. 

Takinaga a place to hang gatu to dry or bleach. 

Tapa, tapatapa, tatapa_ the white part of a sheet of gatu. 
Tohi ae gatu to imprint on gatu. 

Toutapa a woman who paints and arranges the white part of gatu. 
Tuitui A/eurztes, Hawaiian kukui; verb to sew. 

Tukui gatu a long bundle of gatu tied up. 

Tutu the bark of hiapo. 

Tutua the block on which tutu is beaten. 


Dictionnaire Toga-Frangais et Francais-Toga-Anglais, précédé d’un Grammaire et de quelques Notes sur 
L,’Archipel, par les Missionaires Maristes. Paris, 18go. 


TAPA TERMS OF RAPANUI OR EASTER ISLAND. 


Garahu charcoal, Hawaiian nanahu. 

Hakaha to strip off bark, same as kuhure. 
Hakateatea to bleach in the dew of early morning. 
Horehore to dye, the Hawaiian holei. 

Hurihuri_ the color black, Hawaiian uli, Tahitian uli; also blue. 
Kahu nui a shawl or cloak, Hawaiian kihei. 
Kerekere black, Hawaiian eleele; also blue. 

Kiri bark of a tree, Hawaiian ili, Tongan kili. 
Kuhure to strip off the bark of the paper-mulberry. 
Manava eete to stamp or imprint. 

Maute the paper-mulberry; Maori and Tahitian aute. 
Meamea yellow. 

Pareu female dress, the Hawaiian pa’u. 

Pua to dye. 

Ruru to print. 

Tapa bark-cloth. 

Teatea white; Hawaiian keokeo. 

Tigi tigi to beat tapa. 

Titi miro the beater or mallet. 

Tope to bleach. 

Uraura red; Hawaiian ulaula. 


Roussel, le R. P. Vocabulaire de la Langue da 1’Ie-de-Paques ou Rapanui. Louvain 1908, Extrait du 
Muséon, pp. 159-254, Nos. 2-3. 


VOCABULARY OF FIJIAN KAPA TERMS. 


Bicibici a marking or pattern on native cloth. 

Buco white used chiefly of masi; masi buco. 

Dutua the plank on which malo is beaten; Tongan tutua. 

Gatu native cloth when made in large or wide pieces. 

Iki the beater for masi; Hawaiian ie. 

Katudrau (100 fathoms) a large bale of malo; sometimes contains many hundred 
fathoms. 

Kesa a sort of dye for marking malo; applied to any color. 

Kupeti a carved plank on which malo is printed; Samoan upete. 

Lauci Aleurctes. 

Liku female dress; when of malo like the Hawaiian pa’u. 

Titi charcoal of kukui nuts used for printing malo. 

Loaloa black made from lauci seed. 

Madra cloth that has been used. 

Malo the paper-mulberry; also the dress (malo) made from it. In most parts of 
Fiji the cloth is called masi. 

Masi cloth beaten from paper-mulberry. 

Nionioro marked in a certain way; see Hawaiian onionio. 

Samu mallet for beating masi. 

Samusamu a beating of masi. 

Sasa _ the round board on which masi is kesaed or stained. 

Seavu white native cloth; same as masi buco. 

Sulu a waist cloth; differs from the Hawaiian malo in not passing between the legs. 

Taloa masi stained black. 

Tasina native cloth marked or printed on the kupeti. 

Tidolo malo or vau sticks stripped of their bark. 

Tiniyura a bui ni malo, a tail of malo, the long train of a chief’s dress. 

Togonilau a kind of marking when dyeing with kesa. 

Tou Cordza sp. 

Tusi native cloth kesaed with various colors and patterns. 

Tuvalou a quantity of masi hung about a person at a solevu or festival. 

Vaqaqa inner bark of a tree when prepared for making cloth. 

Wagqani a pattern for printing masi. 


Hazlewood, Rey. D. A Feejeean and English Dictionary. Vewa, Feejee, 1850. 


VOCABULARY OF TAHITIAN AHU TERMS. 


Aaa _uative cloth not well made. 

Aahu a piece of cloth; cloth in general. 

Aaone large bundles of ahu, coarse or unfinished, prepared for a public presentation 
to the king or high chief. 


Memoirs B. P. B. Musrum, VoL. III.—15. (225) 


226 Ka Hana Kapa. 


Aarti same as nono, Morinda sp. 

‘“Aati a strong kind of cloth from breadfruit bark. 

Aatiaute cloth made from aw/e bark. 

Abu a small shrub of which the bark is used to tan or dye cloth; same as hiri. 

Aere a tree whose bark was used for making ahu. 

Ahore used of a young tree from which the bark has been stripped. 

Ahuapi cloth doubled and pasted together; a quilt. 

Ahumamau a garment constantly worn. 

Ahufara a scarf or shawl similar to the Hawaiian kihei; a mat made of pandanus 
leaves. 

Ahupara a cloth of good quality. 

Ahupau, Ahupaau an inferior cloth. 

Aiaiaoa cloth made from the fibrous roots of the aoa or banian. 

Aito iron-wood tree; used for a dye. 

Amaa_ small branches of which the bark is used to make cloth. 

Ao the grooves of the cloth mallet; the marks of these grooves; the inside bark 
used for cloth-making; to rip up the’ bark for removal in cloth-making. 

Aoa the Banian fig. 

Aoareva the large grooves in the cloth mallet; Hawaiian pepehi. 

Aorereva a kind of cloth. 

Apaa a thick cloth made by men (not by women as usual) and worked by night to 
be sacred to the gods, and used to cover them during certain ceremonies. 

Apaariaria a beautiful cloth made from awfe bark. 

Apapa a parcel of aué/e or pouru laid out for cloth-making. 

Apape a kind of scented cloth, called also vazvaz. 

Api folds of cloth pasted together. 

Apiapi cloth dyed and perfumed with certain plants. 

Araia a stiff, black cloth. 

Arero a small strip of cloth; the pendent part of a malo. 

Areu cloth worn about the loins; same as faveu. 

Areva a thin white ahu marked with long stripes from the coarse side of the mallet. 

Aroa the best side of a piece of cloth. 

Atiitii to beat small scraps of cloth as little girls do. 

Auperu to fold up cloth. 

Aute Paper-mulberry. 

Avapuhe ginger; used as a perfume; Hawaiian awapuhi. 

Faateatea to bleach cloth; to make white. 

Faatoro to solicit the making of ahu, as is the custom of chiefs. 

Farehaa a shed in which to beat cloth. 

Fatifatiaeve an immense roll of cloth. 

Fefetu a fold or roll of cloth. 

Fenia a tree furnishing a bark for dyeing. 


Vocabulary of Kapa Terms. 227 


Ferafera to remove wrinkles from cloth. 

Haa cloth-making by the women. ~ 

Haamati to dye crimson with the mavz juice. 

Haapaa a dark-colored ahu; v. to dye this color. 

Haapaau to make or wear the coarse cloth called jaan. 

Haapaopao to dye cloth brown or of a dark color. 

Hapaa a strong, durable cloth. 

Haro to paint or spread the crimson dye on cloth called ahuharo. 

Hiri a strong native cloth; the bark used to dye this cloth. 

Hopuu name of a fine white cloth. 

Itere the fag end of a piece of ahu. 

Mao a tree whose bark is used as a dye; in Hawaiian this is the name of Abutzlon 
encanune (Fig. 86, p. 143). 

Maraea araea_ red ochre; in Hawaiian alaea. 

Maraia a dark colored ahu. 

Maro a man’s dress; maroapi, a quilted maro; maroapu, a wide girdle. 

Mati the crimson dye from fig juice; also the berry. 

Motuu a mountain shrub with a dark red berry used as a dye. 

Muriaito red paint or dye from the azvo tree. 

Ninamu_ brown or gray cloth. 

Oao the red-berried shrub used in dyeing (F7cus). 

Ohina a grayish cloth. 

Oieie ahu partly made and thick. 

Opapa a kind of spotted cloth. 

Oraa, Aoa_ Banian fig; also the cloth made from it. 

Ore a modern name for the Aoa tree. 

Paau a coarse native cloth. 

Pahoa to prepare the bark for making ahu. 

Paoo bark of the awe in preparation for making ahu. 

Paraoro to take the wrinkles out of cloth. 

Pareu folds of ahu worn around the loins of both sexes. 

Parupape a fine ahu. 

Parure a strong ahu. 

Pateatea a kind of ahu. 

Patu a small wooden mallet. 

Pauma a kite made of ahu. 

Pauraura a kind of ahu. 

Pauteute a kind of ahu. 

Peperu a roll or bundle of ahu. 

Pia TZacca prnnatifida, the plant whose starch was used to cement ahu. 

Puotihi the inside sheet of a “#7; usually of inferior ahu. 

Puveuveu a rag of ahu, 


228 Ka Hana Kapa. 


Rahi to arrange the bark for making ahu. 

Reipee, Reipu a kind of ahu. 

Rotomati the crimson color of the mati berries impressed on ahu. 

Rufarufa worn out ahu. 

Rumirumi to press and smooth the wrinkles in a garment; Hawaiian lomilomi. 

Ruru a roll or bale of ahu. 

Taata to prepare bark for ahu making by removing the rough outside. 

Tahau to bleach ahu in the morning dew. 

Tahauhau to bleach ahu repeatedly as above. 

Tahema an ornamental handkerchief worn by dancers. 

Tahere a sort of a malo worn by Tahitians; same as Tihere. 

Tahono to join pieces of ahu; to lengthen. 

Taia to smooth cloth by rubbing or pressing. 

Tape a fragment of ahu less than a fathom long. 

Tatiti to print or decorate ahu with figures. 

Tauaoa roots of aoa tree from which ahu is made. 

Taupepe to spread out a wet cloth. 

Tiafati to fold cloth. 

Tiahono to lengthen ahu by pasting on a piece. 

Tihere, Tahere a man’s malo. 

Tihi a great quantity of ahu wrapped around the waist in former times and then 
given to visitors (Fig. 121, p. 200). 

Tihiura a large shawl stained along the border. 

Tipara a kind of ahu, spelled also tapara. 

Tipe a sort of ahu. 

Tiputa, Tiaputa, Tuputa a garment of ahu like a poncho (Fig. 3, p. rr). 

Tite aute or cloth made from it. 

Titete ahu in a certain stage of preparation. 

Titia the long beam on which ahu is beaten; v. to beat ahu on this beam (Fig. 1, p.g). 

Tou a tree, Cordia sp.; Hawaiian kou (Fig. go, p. 151). 

Tuetue thick, stout cloth, also irregular cloth. 

Tuoru acloth from which ‘putas were made. 

Tupai a mallet for beating ahu (Pl. 6). 

Tupepu, Pupepu a kind of thin ahu. 

Tutu to beat layers of bark to make ahu; to express juice from matz berries; 
Hawaiian kuku. 

Tutuhaa to beat bark for making ahu. 

Tutua the beam on which the bark is beaten. 

Umaa a dress of ahu, such as the tihi. 

Umaamaa a kind of ahu. 

Umati cloth made of the mati fig, or that is dyed crimson. 

Upua (a liver) name of a dark-colored cloth. 


Vocabulary of Kapa Terms. 


Upapariirii cloth made of many layers of az‘e. 
Uperu, Auperu a small bundle of ahu. 

Urepo cloth colored dark by bog mud; Hawaiian lepo. 
Utoutou to stain cloth with mazz. 

Uvaravara, Uverevere a thin kind of ahu. 

Vaivai a kind of ahu, generally scented. 

Vaivaihaua name ofa sort of ahu. 

Varequai a fine, thin cloth. 

Vau_ to bark a tree for material to make ahu. 
Veriverihiva cloth of various colors. 


Jaussen, Missionaire. Grammaire et Dictionnaire de la Langue Maori, Dialecte Tahitien. 


229 


Davies, Rey. John. A Tahitian and English Dictionary, with introductory remarks on the Polynesian Language 


and ashort Grammar of the Tahitian Dialect: with an Appendix. Tahiti, 1851. 


London Missionary Society’s Press. 


COMPARATIVE TABLE OF KAPA TERMS. 


ENGLISH. HAWAIIAN. TAHITIAN. TONGAN RAPANUI. SAMOAN. FIJIAN. 
Paper-mulberry waoke, wauke aute hiapo maate tutuga malo 
Bark-cloth kapa abu ua, tutugu, gatu,/tapa siapo masi, malo gatu 
hiapo 
Bark ili See Re sunDE a anscoded) PI ikiri |paa iwriheaceeeoneeee dette 
| | 
Anvil kuakuku itutua, titia itutua tutua /tutua dutua 
Beater ie, iekuku ie, tupai ike, tata titi miro ie, ietosi iki 
| 
Male dress malo |maro, tihere vala Seleievele culaiaiala Stein! n=]=)= REL! malo, sniu 
Female dress pa'u pareu a aeecnesesceceeseens|(DAFCN jlavalava liku 
Shawl kihei ahufara kofu pulupulu ‘Kahu nui ofa pulupulu 


To bark 


To beat 


To print 


To dye 


To bleach 


Smooth 


Black 


White 


Yellow 


Red 


Charcoal 


Ochre 


Turmeric 


Tacca 


Candlenut 


Cordia 


Morinda 


Bambu 


Ginger 


uhole, paipai 

‘kuka, kupalu 

pai, palapala 
nu 

hookeo 

mole 

uli, eleele 

kea, keokeo 

olena, lena 

ula, ulanla 

‘nanahu 

alaea 


olena 


pia 


kukui 


kou 


noni 


ohe 


awapuhi 


‘kohore, vau 


tutu, ratu 


tatiti 


luu, hooluu, kupe- atete 


faateatea, 
— hau 


uri 


ura 
araea 
| 

pia 
‘tiari 
tou 
nono 


ohe, kofe, ofe 


avapuhi 


tahau- 


fohifohi 

| 

| 

‘tapahu, tapann 

tohi ae gatu paki- 
tohi 


faka hina 
molemole 

uliuli 

hina, te tea 
kena, melomelo 
kula 

malala 

ega 

tuitui 

‘nono 


kofe 


| 
| 


| 


‘hurehure, kerekere 


kuhure, hakaha — fafai 


tigi tigi ta 


manayaeete, ruru jvai, tusi 


horehore, pua ‘fufni 
| 
hakateatea faasinasina 
| 
molemole molemole 


uli, eleelea 


teaten paepae sina 
| 
meamea samasama 
| 
| 
uraura ulaula 
garahu malala 
| 
| 
lega lega 
| 
pia pia 
lama lama 
tou tou 
nonu nonu 


wislewialeiviere.cs,eisis'sivle.aiae (OL) 


eden ececcicoeneses ees / QVADUL 


lomo ca 


loaloa 

buco vulavula 
dromodromoa 
dravaka kulakula 
liti, qilaiso 

} 

rerega 

yabia 

lanci, tuitui 

tou 

kura 


bitu 


(230) 


(Cla e TB WML 


A CATALOGUE OF THE KAPA STUDIED. 


EARLIEST among the extant collections of Bark-cloth we must place the curi- 
ous one already referred to (p. 21), compiled from the Cook colleGtions in book form, of 
which several copies differing slightly in size and arrangement of specimens are known. 
Beginning with this quaint little volume, we will continue with another colletion of 
the famous voyager’s kapa of larger size and far better preservation, but without 
descriptions, date or name of editor: it is, however, perhaps the choicest of all. Next 
is the author’s private collection containing, besides many specimens which will be 
described with those in the Bishop Museum, kapa gathered in visits to many muse- 
ums, and sent by correspondents who desired to make the knowledge of bark-cloth 
manufacture more complete. Finally come the abundant collections of this Museum 
largely consisting of complete Kapa moe, pa’u, malo and kihet, or, in other cases folds 
of cloth unappropriated to any special use. This Museum collection includes the 
choice kapa of the Kamehameha family to which has been added by gift or purchase 
until it undoubtedly ranks first in size and value. 

All the other collections mentioned consist entirely or in great part of speci- 
mens not exceeding in the main the convenient size of six by nine inches. When the 
imprinted pattern requires it of course this limit must be over-stepped, but the smaller 
size is better suited for study or comparison. It may be added here that the preserva- 
tion of volumes of bound specimens of kapa must be carefully watched, at least in this 
climate, for the kapa tissue is very attractive to the paper-eating beetles. 


1. New Amsterdam (Tasman’s name for Tongatabu). A thin cloth printed brown 
with the were, showing pattern on both sides (Figs. 17-18, pp. 40-41), ‘“‘and made 
to resist rain, by being smeared over with the juice of a glutenous (szc) herb 
or plant.” 

2. Otaheite [Tahiti]. Thin, tough, white; beat is hoopai very fine. ‘This is used 
to spread below the chiefs while at dinner under the trees.” 

3. Sandwich I. [Hawaii]. Coarse fibre, mole, painted with irregular stripes of black 
crossed by others of red at an angle of 45°, both series in pairs. ‘‘’This was no 
larger than a common cloth; the dyes are mattie ficeus [not so, but red ochre], 
and burnt cocoa-nut, mixed with the oil of the same.” 

Hawaii. A small bit of thick mole, with the figures as shown in Pl. W, 1. 

4. Hawaii. Mamaki hoopai “and very strong. It resists water pretty well.” Dyed 

a reddish brown. 

6. Tahiti. Thick, white and felt-like; in two layers not well united. “Used for 

bedding.” (231) 


- 


232 Ka Hana Kapa. 


7. Tahiti. A hard, ribbed fabric, dyed red, “wore by the common people in the rainy 
season; it is glazed as is No. 1.” 

8. Hawaii. Mole, colored as shown in Pl. W, 2. “Was six yards square; it is a 
master-piece of the Sandwich Islands manufacture, and worn by the ladies of 
honour.” ‘To the small fragment from which the author painted the plate referred 
to has since been added a much larger piece from the Florence collection of Cook’s 
kapa by Dr. E. H. Giglioli, and there is little doubt that both are from the same 
large specimen. 

9g. Tahiti. A rather rough specimen with transverse ribs. It appears to have been 
dyed yellow but is now faded out. ‘Wore by the people in fine weather; it is 
made of the outer rind [?]| of the mulberry tree.” 

10. Tahiti. White, thick and soft. 

11. Tahiti. A strong, hoopai specimen of stiff, thin, white kapa. 

12. Tahiti? Soft, yellow, and from the beat, which seems to be mole halua pupu, 1 
should attribute it to Hawaii. 

13. Tahiti. Yellowish, with a zigzag pattern painted in brown; a very small frag- 
ment; “used in religious ceremonies.” 

14. Tahiti. Quite like a kind made by the Hawaiians. Beat hoopai pawehe; grey 
on under side, dark brown on upper marked with darker parallel lines; “used in 
the mourning dresses.” 

15. Tahiti. A thick, soft kapa originally dyed yellow and stamped red with end of 
bambu, Fig 7. The catalogue has “used at the human sacrifice, but the Tahitians 
did not have human sacrifices.”’ 

16. Hawaiian. A thick, opaque, dark brown. The catalogue says “the dye the same 
as number g, laid on with a small reed in the hand,” but that number is not of 
the same color even allowing for fading. 

17. Tahiti. White and ribbed like corduroy; “beat with a grooved piece of wood, 
and used as a mat.” 

18. Tahiti. Very fine white hoopai. “The very finest of the inner coat of the mul- 
berry, and wore by the chiefs of Otaheite.....Some of the seamen were sent ashore 
to bring fresh provisions on board; and not having an opportunity to return im- 
mediately one of them wandered a little way up country, where he saw some child- 
ren at play, which to his surprise they all left and surrounded him, making many 
antic gestures; at last a girl, about 14 years of age, made a leap at him, at the same 
time endeavored to seize a few red feathers which he had stuck in his cap, which 
he directly took out and presented her; upon which she made off with amazing 
swiftness, and the rest after her; he then returned to his companions, who were 
preparing to go on board. It was now the cool of the evening, when she came 
down to the water side, and singling him out from the rest, presented him the 
piece of cloth from which this was cut. A true sign of gratitude in those people.” 

19. Tahiti. A* brown, thin, hoopai fabric ‘made out of old cloth for bedding to the 
common people.” Soft and suitable. 

20. Hawaiian. Of fine white texture, pepehi grooved. 


ofl 


20. 


BD. 
23. 


24. 


25. 


26. 


Oh: 
28. 


29. 
30. 


ails: 


as 


oo: 


34. 


A Catalogue of the Kapa Studied. 233 


Tahiti. A thin white kapa, ruled in black; “not fully completed.” The pattern 
was like Pl. 34, 2. 
Hawaiian. Fine thin kapa ruled in black with broader lines in alaea red. 
Hawaiian. ‘The fragment (now half its former size) is too small to make out the 
pattern painted in red and black upon a thick, leathery kapa, ribbed on the 
reverse. ‘Wore by the priests.” The general character is shown in Pl. S, 1, 
left half. 
Hawaiian. Thin mole mahuna kapa; “wore by the young women and oiled over 
to resist water.” 
Hawaiian. Similar in texture to the last but marked with dark red stripes; “an 
under garment; sometimes used for ornament.” 
Hawaiian. Thick white (probably once yellow or pink) with a texture like 
chamois leather. ‘Used as ornaments upon their canoes.” 
Tahiti. White, poorly beaten and fibrous but soft; “used by chiefs for sitting on.” 
Tahitian. Thin, white, papery with irregular brown blotches. ‘Used as a sash, 
and under garments for the dancers at Otaheite.” 
Hawaiian. Kapa mahuna with lines in groups of three. 
Hawaiian. A thick felt-like kapa of several layers loosely beaten together; white, 
slightly smeared with red on one side. “A covering for the common people.” 
Hawaiian. Soft mole kapa resembling No. 3, but with finer dark lines in threes 
with wider red parallel lines and four finer red crossing at a slight angle. For the 
general effect see Pl. H, 2. A number of samples of this style were in Cook’s 
collection. 
Tahitian. Rather soft, white with a slight red smear on one side. ‘Wore by 
the chiefs going to battle.” Probably as malo. 
Tongatabu. A coarse, loosely beaten kapa varnished with red on one side. 
“Wore by the common people; no rain will penetrate it.” It closely resembles 
Samoan siapo. 
Tahiti. A thick, coarse, ribbed cloth painted in triangular patterns of orange, 
red, brown, with black dividing lines. So far as the diminutive specimen shows 
the design, it was gaudy rather than artistic. “ Wore as garments by the ladies. 
..A number of the natives being on board of the Resolution, one of the chiefs 
took a particular liking to an old blunt iron which lay upon one of the officer’s 
chests, and taking hold of a boy about nine years of age, offered him in exchange, 
pointing tothe iron. ‘The gentleman, although he knew he could not keep the 
youth, yet willing to see if he would willingly stay; or if any of the rest would 
claim him, took the child and gave the savage the iron; upon which a woman, who 
appeared rather young for the mother, sprung from the other side of the ship, and 
with the highest emotions of grief seemed to bewail the loss of the infant: but 
the lieutenant, with a true British spirit, took him by the hand and presented 
him to her, upon which, after putting her hands twice upon her head, she un- 
bound the roll of cloth which was round her body, from which this specimen was 
cut, and having spread it before him, seized the boy, and jumping into the sea 


. 


234 Ka Hana Kapa. 


both swam ashore, nor could he ever learn whether she was the mother, sister or 
relation, and this he lamented the more, as such affetion was very seldom seen 
among those people.” 

35. Tongan. A well-made hoopai kapa apparently white or cream color although the 
catalogue refers to it as colored. It was presented to Mr. King. 

36. Tahitian. A good hoopai kapa presented to Lieutenant King by one of the priests. 

37. Tongatabu. <A coarse, durable kapa stamped brown with the upete. 

38. Tahitian. Thin, white papery cloth “wore by the young dancers of both sexes.” 

39. “A fine specimen of the lace-bark, from Jamaica, bought at the Duchess of Port- 
land’s sale.” 


Coors Convection EE: 


WHILE we have here some of the finest known specimens of the Hana Kapa 
few have any designated locality, and of these several are surely wrong; nor do we 
know when or by whom the collection was brought together in the goodly volume of 
one hundred and ten specimens measuring generally 7.2X10.5 inches. Of the figured 
ones it is not so difficult to determine the origin; but with the plain white fabrics it is 
sometimes impossible, pieces known to have been made in Tahiti are undistinguishable 
from some of equally positive Hawaiian origin, and the size of a hand specimen in- 
creases the difficulty. As was to have been expected we have in this collection kinds 
of kapa found also in the first one, and these are perhaps pieces of the same sheet. 
All are remarkably well preserved, being bound betwixt stiff sheets of ledger paper, 
and they give evidence of very little handling. If only the origin were authoritatively 


stated the collection would be a model one. 


1. Tahiti? Rather thick mole cloth through which the dyes used have to some extent 
penetrated. The order of the line decoration is two bands each of three wavy 
black lines on white; then a broken line of round red dots, and the black bands 
repeated; then ten thin lines of dark red and one broader one on a red-brown 
ground followed by a band of this ground color of equal width; repeat. This may 
be Hawaiian or Tahitian with the preference given above. 

2. Tahiti. A thin brownish fabric, mole, ruled with thin black lines averaging 3.8 inch 
apart crossed by converging lines in pairs; two dark red and six black lines; repeat. 

3. Hawaii. Yellow hoopai kapa with bands of red ochre alternately .8 and .6 inch, 
each with an open zigzag of the ground color in its midst. 

4. Hawaii. A firm mole fabric with bands of color nearly covering the unbleached 
ground. Pl. U, 2. Probably portion of a pa’u. 

5. Tahiti or Tonga. A very well-beaten mole fabric ruled with thin parallel black 
lines in pairs about .2 inch apart; these are crossed at an angle of 45° by similar 
double lines fifteen in number separated by seven dark red thicker lines, or 
thirteen lighter red, all of the red lines single. Pa’u. 


A Catalogue of the Kapa Studied. 2B 5 


6. Hawaii or Tahiti. Thin mole fabric ruled with double black lines, twenty-three 


or more (cannot be determined from the specimen), then a space of ground color 
with transverse lines of red dots in series of three; then two bands of four black 
lines each; then a slightly wider band of the ground color with the dots; then two 
similar bands with elliptical daubs of dark red at intervals of about an inch; repeat. 


7. Hawaii. A thick, leathery fabric crudely marked with converging lines of red and 


black. It is most interesting for a neat specimen of sewing shown in Figs. 61, 62. 


8. Tonga. A thick corduroy fabric with converging bands of red and black. 
g. Tahiti? A thick, ribbed kapa of yellow-brown tint ruled with wavy lines of alter- 


Io. 


Il. 


12. 


£3 


14. 


TiS 


16. 


is 


18. 


19. 


20. 


nate red and black, crossed with rudely painted bands of black with open zigzags 
of ground color dotted with red. 

Hawaii. Very smooth mole kapa of light brown tint marked with red and black 
figures as shown in Pl. E, 4. 

Hawaii. Thin white kalukalu kapa with crossing bands of twin dots as shown in 
Veda ieatn Bi 

Tahiti or Hawaii. A kapa of open and rather uneven beat but fairly smooth 
surface ruled with fifteen black lines about .5 inch apart, then three similar lines 
close together, two wider red lines followed by the three lines and repeat; crossed 
by converging pairs of red and black lines. 

Hawaii. Stiff and papery hoopai kapa ruled in broad black lines as shown in 
Fig. 19. Brought by Cook from Kauai. The black carries a durable varnish. 
Tahiti? ‘Thin kapa of a reddish tinge carefully ruled with darker red twin lines 
at right angles to each other. 

Tahiti? A gray surface ruled with dark brown lines, generally in pairs, with a 
thinner line of the same color intervening. 

Samoa? Mole kapa dyed yellow and stamped or printed with flat triangles with 
a base of 4.5 inches and of dark red color and varnished surface, leaving equal 
triangles of the yellow ground. 

Hawaii. A double sheet, the front one mole with a wool-like surface (Pl. O, 1); 
the other hoopai yellow-brown on inside where attached to the other sheet, the 
reverse with smooth red paint. 

Hawaii. A firm kapa mole of a reddish yellow tinge, marked irregularly with 
panels of close wavy black lines separated by elbows of broad bands of two shades 
of red or by strips of the ground color with red dots. A good seam crosses 
the specimen. 

Hawaii. Stout mole kapa of a yellow-white tint, the most of the surface being 
covered with well-ruled lines in bands crossing each other at a small angle. 
The lines are alternately broad (.2 inch) and very narrow. ‘The specimen has 
been sewed with a running cord like a basting, but this has been mostly cut away 
in binding. 

Tonga? A thin but tough kapa ribbed and well covered with red and black 
wavy lines with here and there a band of red lines of varying width. Where the 
original surface shows it is often dotted with red. Perhaps Hawaiian. 


21. 


22. 


Ka Hana Kapa. 


Hawaii. Red-brown mahuna kapa with ruled black lines in fours alternating 
with single lines. 

Tahiti? The specimen is colored half yellow and half dark brown; the beat 
seems hoopai pawehe at first sight, but a more careful examination reveals two 
hoopai sheets pasted together with the hoopai ridges at different angles; the 
under sheet is plain yellow-brown, 


. Hawaii. A stout mole kapa richly colored by lining as shown in Pl. U, 4. 
. Hawaii. A thick kapa with a decidedly woolly surface on the obverse but smooth 


on the back. One of the rich combinations of color in compound bands (PI. O, 2). 


. Hawaii? Thick mole kapa marked with red lines 2.7 inches apart, these being 


crossed by similar lines in pairs converging. 


. Tahiti? Unbleached mole kapa with black lines crossed by another series of 


double converging lines at right angle, and still another series crossing at 45°. 
This is rather irregularly ruled, and has a confused effect. 


. Hawaii. Red and brown bands, some parallel and others crossing these at slight 


angles. Of the same class as No. 19. 


. Tahiti. Thin white mole, fibres distinct and silvery, covered at intervals of three 


inches with rudely drawn pairs of dark brown lines .2 inch each line. 


. Hawaii. Mole kapa with bands of black lines in two slightly separate’series of 


four each; these bands are .7 inch apart and the intervening blank is dotted by 
alternating pairs of green and single larger red. A common Hawaiian device. 


. Hawaii. A thick kapa of which a portion is shown at exact size in Pl. U, 3. 


? A thin dark brown hoopai kapa (Pl. BB, 11) with a slight glaze on one side. 
I am unable to place this well-made specimen of which I have seen no duplicate. 


. Hawaii. White kapa of ordinary quality, very thin. 
. Rurutu (Austral Group). <A red hoopai kapa marked with two series of parallel 


black lines crossing each other at 45°. It resembles, but is not so thin as the 
Hawaiian mahuna. 


. Tongatabu. A very leathery kapa, bright red on the back but covered with a 


darker varnish on the face. 


. Hawaii. A red mamaki kapa of hoopai beat, tough and strong. 
. Tahiti? Yellow hoopai kapa covered with rude zigzags of dotted and smeared 


dark brown and parallel with these a brown ochre sort of shadow. 


. Tahiti. Thin, white and soft kapa closely resembling No. 10 of the former Cook 


collection. 


. Hawaii. This pretty gray kapa is shown in PI. H, 2. 
. Hawai. A firm mole kapa closely covered with double ruled lines with here and 


there a broader red one of which the color has penetrated the fabric. 


. Hawaii? A much thinner kapa ruled uniformly with dark brown having red 


lines at considerable intervals. 


. Hawaii. Brown-red mamaki kapa; well made and strong. 
. Hawaii. Apparently the border of a pa’u hula; yellow once and stamped with 


various zigzags and rhombs. 


43 
44. 
45. 


46. 


47. 


48. 


49. 
50. 


5I. 


ee 


a0" 


54. 
55: 


56. 
o7: 


58. 


A Catalogue of the Kapa Studved. 237 


Hawaii. A rather poor specimen of kapa, stiff and leathery, decorated with the 
common converging red and black bands; here each band is lightened by cross 
lines in zigzag. : 
Tahiti. A white, silky, soft, but poorly beaten kapa. 

Tahiti. A thick corduroy, yellowish (faded) kapa covered with a network of red 
lines 3 inch wide. 

Tonga? A kapa thin and silky, with bands of red enclosed by black lines. 
Much like Pl. E, 1, but omitting the intermediate line. A bright and pleasing 
design for a pa’u. 

Hawaii. A thin, well-beaten mole kapa ornamented with the favorite “colon” 
stamp in green and red (PI. 41, 2). 

Hawaii. An odd specimen of marbled appearance, perhaps composed of old kapa 
rags rebeaten; it is tough and papery and seems to be quite like No. 103 which 
is marked Sandwich Islands. 

Hawaii? Plain white hoopai kapa rather thin but not kalukalu. 

Tongan? Kapa of a medium thickness and rather soft; beat pepehi with a 
double transverse beating. A dead red band occupies more than half of the 
specimen. Perhaps a malo. 

Hawaii. A thin mole kapa with more than fifty closely ruled lines, then a broad 
red band and repeat. 

Tonga? A thick and tough kapa of pepehi beat and decorated in an almost 
barbaric style, which is hard to describe or even understand, but so far as the 
limited size of the specimen shows the pattern it is made up of bands of zigzags, 
the principal one 2.5 inches wide having a succession of knees in red black and 
yellow-brown, the ground color; when this last shows the strip is covered with 
red lines ladder-wise; another band is a jumble of black zigzags with transverse 
red lines crossing them without rhyme or reason. 

Tahiti. A thin kapa of a gray color marked with two series of parallel lines 
.2 inch apart, crossing each other at an angle of 45°. At intervals a reddish band 
of three lines runs parallel to one series. 

Tahiti. A thin, yellow-red kapa of mole beat. 

Hawaii. A thin kapa of pepehi halua beat, with darker red fibres interspersed in 
line resembling Chinese writing. Exactly how these fibres are kept in line I do 
not understand, but they certainly antedate the supposed American device for 
checking counterfeiters of the bank-bills. 

Hawaii. Another similar piece but of hoopai beat, and a single line of darker fibres. 
Hawaii. A thick, mole kapa with two black lines and a single red one at inter- 
vals of six inches with three rows of stamps apparently bearing no relation to 
the lines except direction, the stamps alternating two short red lines and two 
small green quares touching by corners. 

Hawaii. A thick, woolly, mole kapa, marked with bands consisting of five red 
lines bounded generally (not always) by much broader lines of the same color, 


238 


Ka Hana Kapa. 


and these bands are crossed by narrow red lines alternating double and single at 
an angle of about 80°. A seam in the specimen is shown in Figs. 59 and 60. 


. Hawaii. Of the same thick kapa as the last and marked with similar red lines. 


The abrupt termination of some of the lines is shown in Pl. 47, 1. 


. Tahiti. A kapa ruled as in No. 53, but thicker and a lighter ground color. The 


parallel red lines much more frequent. 


. Tonga? <A thick mole kapa ruled with black lines about half an inch apart, 


crossed by red converging and intersecting lines. 


. Hawaii or Tahiti. Kapa mottled by beating in fragments of colored kapa as 


shown in Pl. 35, 1; here the colors are gray and red in separate patches. 


. Tahiti. A thin yellow kapa of apparently a pepehi halua beat, marked with red 


equilateral triangles 3.2 inches on a side. 


. Tahiti. A very soft piece of cloth originally yellow (although every irace of 


color has vanished), with impressions of fern leaves now brown but once crim- 
son, as explained in the text and shown in Fig. 4 and PI. 19, 2. 


. Tonga? <A corduroy kapa of buff color marked with red and black converging 


bands; some of these are filled with transverse black and red serrate lines; not a 
very good piece of decoration. 


. Tahiti. Another variety of the thin lined kapa of Nos. 53 and 60. 
. Hawaii. This mole kapa is thick and rather soft; the decoration on the buff 


ground is a repeat of the following; a broad (.5 inch) red line, nine black wavy 
lines, two wavy red lines, nine black and a broad red. In the next band a red 
line takes the place of one of the black ones. 


. Tongatabu? A smooth buff hoopai kapa painted uniform red on one side, giving 


the fabric a leathery consistency. 


. Hawaii. A thick mole kapa, reddish in tint and well covered with black and red 


lines and cross hatchings. 


. Hawaii. A thick buff mole kapa well covered with black zigzags interrupted here 


and there by spaces of ground color dotted with red; also interseéted by broad 
red and thin black lines. 


. Hawaii. A rather thin mole kapa ruled with narrow black and broader red lines 


much as shown in Pl. 38. 


. Hawaii. A wonderful specimen of coloration; shown in Pl. R, 2. The fabric is 


thick, well-beaten and smooth on the back. 


. Tonga. A thin kapa ruled and painted red and black with a coat of varnish 


making it tolerably waterproof. ‘The colors have penetrated the fabric. 


. Hawaii. A stiff mahuna kapa marked with dark bands of four lines each; oiled. 
. Hawaii. A very neat and well-drawn pattern on a firm, thick kapa (Pl. T, 1). 
. Hawaii. Another illustration of the perfection of the art of coloration attained by 


the old Hawaiians. In the midst of this specimen are three bands each of nine 
pale red lines admirably ruled; the middle band has a darker tint imposed in rhombs 
giving the effect of an entwining shadow; on either side of these three bands are 
three narrow ones of only three lines, red on one side, dark brown on the other. 


77° 


A Catalogue of the Kapa Studied. 239 


Hawaii. Another specimen of similar character is shown in Pl. R, 1. The cloth 
is of the same thick but soft texture, and the colors are applied with equal skill. 


. Hawaii. A buff corduroy with one side painted uniform red. ‘The appearance is 


similar to No. 68, but the shade of red is brighter and the ridges much broader 
than in that specimen of uncertain origin. 


. Hawaii. A thick, firm kapa with the smooth surface usually selected for print- 


ing or painting, both of which processes have been used here (PI. T, 3). 


. Hawaii. The intersections of the panels of thick wavy black lines, and the red 


stamps on the light ground are shown in PI. T, 2. 


. Tahiti. Another modification of the reticulate pattern so common among the 


southern Polynesians. 


. Hawaii. This specimen is nearly double the length of other specimens in this 


colleGtion, the extra length being required to show the irregular succession of the 
lined and stamp-spaces. Pl. H, 3, gives a better idea of this complex though not 
beautiful pattern than any description. 


. Hawaii. Buff-colored kapa of woolly surface covered with bands of red composed 


of coalescing lines, not more than nine or less than three. 


. Hawaii. Kapa similar to the last but with a different arrangement of red lines. 
. Hawaii. A soft brown kapa with bands of four dark lines occasionally covered 


with a semi-transparent varnish of red; these at intervals of two inches, the 
spaces dotted with four rows of twin line stamps. 


. Hawaii. Thick, leathery kapa of a buff color nearly covered by converging bands 


filled with thick, transverse, wavy black lines, relieved by occasional red bands 
or rows of round red spots. It belongs to the class of Nos. 18, 70, etc. (see Pl. U, 2). 


. Hawaii. Apparently from the same piece as the last. 
. Hawaii. Thick, leathery kapa with converging bands of dark red crossed in various 


ways with black lines. A seamis shown in Figs. 56,57. For the filling see Pl. U, 3. 


. Tongatabu. A buff, mole kapa with bands of two black lines with an intermediate 


one of lighter color, crossed at right angles by converging red lines, in pairs. 


. Hawaii. Plain buff kapa with parallel bands of three red lines at intervals of 


.5 inch; crossing these a band of red fibres in the fabric. 


. Hawaii. A dark brown (Pl. AA, 10) hoopai kapa, soft and well beaten, without 


decoration. 


. Hawaii. A thick, red glazed, hoopai halua kapa. 
. Tahiti. A soft yellow kapa of medium thickness, imprinted with crimson leaves 


and bands of fibres. Both colors are quite faded. 


. Hawaii? A buff kapa with red bands, but the interwoven lines forming the bands 


are unlike others in the collection. 


. Hawaii. A very beautiful buff kapa ruled with great care in several delicate 


shades of brown and red. 


. Tahiti. A yellow kapa in three layers of which the inner is thin mole, the middle 


thicker hoopai, and the outer a fine hoopai; imprinted with the crimson rings by 
the bambu stem (Fig. 7). Cook’s II Voyage. 


240 Ka Hana Kapa. 


97. Hawaii. A thick, papery kapa closely lined in minute squares with black which 
seems to have stained the whole tissue. 

98. Hawaii. A beautifully beaten red mahuna kapa. ‘The even thinness is remark- 
able and could hardly have been surpassed by modern machinery. 

99. Hawaii. A fine red mahuna kapa carefully lined with black. 

100. Hawaii. The woolly surface with bands of red lines so often represented in this 
collection. 

ror. Tahiti. Although this and the following specimen are marked “from Pitcairn 
Island” they really represent Tahitian manufacture, as the women taken from 
Tahiti by the mutineers of the Bounty to this then uninhabited island doubtless 
brought with them their handicraft. This specimen is a tough, coarse, white hoopai. 

102. Tahiti. A yellow mole kapa with the imprint in crimson as shown in PI. 20, 2. The 
serrate strip is loosely pasted on; both yellow and crimson are colors of the past. 

103. Tahiti. Two layers of thin kapa apparently stamped in brown on the upete; 
the color has penetrated both layers. 

104. Hawaii. Another specimen of the marble mottled thin kapa already mentioned. 

105. Tahiti. This beautiful white fabric is marked ‘“Otaheite, the finest made in 
that island.” The hoopai beat is so close as to resemble a weave and the texture 
is of “silver paper.” 

106. Tahiti. A thick corduroy painted red on the reverse, while in front the buff 
color appears, and each ridge has a wavy black line. The specimen also shows 
a remarkably fine seam. 

107, 108. Tahiti. ‘These two specimens are identical in substance and vary slightly 
in decoration; soft and thin; probably from the same piece. 

tog. Tahiti. Another of the fine hoopai white specimens. It is slightly discolored. 

110. Tahiti. A coarse, dark red, glazed kapa; peculiar to this group. 


SPECIMENS OF KAPA IN THE AUTHOR’S COLLECTION. 


SPECIMENS found also in the Museum collection are not here enumerated but 
will be catalogued together below. ‘This collection is given separately as it contains 
many specimens of kapa made outside the Polynesian region, and many that from 
their age and authenticity rank with those of the Cook collefions. ‘The numbers are 
those of the individual colle@ion and should not be confused with Museum numbers. 


240. White waoke, hoopai kapa. Collected by Rev. W. Wyatt Gill. Given by H. 
Balfour, Esq., Oxford, Eng. 

241. Red (AA, 11) kapa made by the forest tribes Tanala, Madagascar, from fig 
bark(?). From the Sibree colleftion. Given by H. Balfour, Esq. 

242. Heavy, stiff brown (BB, 11) kapa from Shom Pen, Great Nicobar, where it is 
called Ok ho; worn also by coast women when in mourning. Said to be made 
from a species of Celtis. E.H. Man colletion. Given by H. Balfour, Esq. 


243 


244. 


245. 


246. 


BAU 


248. 


249. 
250. 


251. 
252. 


253. 


254. 


255: 


256. 


257: 


A Catalogue of the Kapa Studied. 241 


. Very light brown undyed kapa from the NGarasi District, Rubiana, Solomon Ids. 
H. B. M. S. Penguin, 1894. Given by H. Balfour, Esq. 

One of the thick, poorly beaten kapa from Bogotu, Ysabal, Solomon Ids. The 
light brown is smeared with the blue so favorite a color on this group, and the 
decoration is one of the three-balled dumb-bells already referred to in the text 
(p. 62); this is in deeper blue with a bordering line of red ochre; the drawing is 
poor, but the beating of the fibre is even poorer. 

Dark blue (BB, 7) kapa from Bili village, Eastern Rubiana, Solomon Ids. 
H. B.M.S. Penguin. Given by H. Balfour, Esq. 

Dark blue lined kapa, the lining straight with loops, from NGarasi District, 
north coast of Rubiana, Solomon Ids. H. B. M. S. Penguin, 1894. Given by 
H. Balfour, Esq. To this specimen is appended this note: “juice of plant mixed 
with lime and water; sometimes chewed and spat upon the cloth and shaped into 
patterns with the finger.” I have endeavored, so far without success, to learn 
the name of this plant of which the coloring matter is very bright and durable. 
Thin, uneven kapa, unbleached and spotted with black; the color red is some- 
what lighter than AA, rr, and the texture is open. Brought from Rubiana by 
the Penguin and given by H. Balfour, Esq. 

Unbleached red-brown kapa from Rubiana, “quality C fine.” Penguin collection. 
Given by H. Balfour, Esq. 

Another of the Rubiana kapa, “quality A coarse,” from the same source. 

A light brown kapa (nearly AA, 9) from Lake Mwero, British Central Africa, 
1893. Given by H. Balfour, Esq. 

A fairly well-beaten, heavy, unbleached kapa made on Great Nicobar, of Celtis 
fibre, collected by F. E. Tuson in 1889. Given by H. Balfour, Esq. 

A heavier specimen of the Celtis kapa from Great Nicobar, collected by Major 
R. C. Temple, 1895. Given by H. Balfour, Esq. 

Waoke, mole kapa from Fiji. The cloth is very soft and silky, well bleached 
and stamped and ruled in neat designs of black and red. Portion of a sula given 
by the Peabody Academy of Science (FE. 3178), Salem, Mass. 

Siapo from Samoan Ids. ‘The base is well-beaten waoke, mole as all cloth from 
this group, ruled with wonderful care and skill in fine lines of black and red, 
some of the small squares painted in with black, and the back of the sheet 
varnished with the common red-brown (Pl. 34, 1). Given by the late Gorham 
D. Gilman of Boston. 

A white, poorly beaten kapa from Rapanui (Easter Island), colleGted by Pay- 
master W. J. Thomson, U.S. N. Given by U. S. National Museum. 

A thin, oiled waoke kapa of mole beat and once part of a pa’u. ‘The pattern is 
ruled in black. Hawaiian. Given by U.S. N. M. 

A portion of an old pa’u from Hawaii, ruled and stamped in red and black. 
Originally olena yellow. From the U. S. N. M. (3605). 


MEmorRs B, P. B. MusEuM, VOL. III.—16. 


242 


258. 


299 


260. 


261. 


262. 


275s 


Ka Hana Kapa. 


A well-made mamaki kapa of hoopai halua beat from the Hawaiian Ids. 
Wo SNe (nae): 

. Mamaki kapa bleached, hoopai beat; one of the under sheets of a bed kapa; very 
old. From the Peabody Academy of Science, Salem, Mass. (E. 3151). 
Waoke, mole, brown (lighter shade of AA, 8). Portion of the under sheet of 
a bed kapa. Brought from the Hawaiian Ids. by Captain Nathaniel Page, 
1812-1818. Given by the Peabody Academy, Salem, Mass. (E. 3155). 

A thick, waoke, hoopai kapa from the Hawaiian Ids., decorated as shown in 
Pl V,2. Given by Ul Ss. Noe, 

White hoopai Hawaiian kapa with fragments of paiula and nanahu kapa beaten 
in, as shown in Pl. 35, 1. Brought home by Captain William Bunker in 1802. 
PAS 8... 32648): 


. From a beautiful Tongan waoke, mole, malo, well bleached and stamped in black 


and dark red. From the Wilkes Expedition, and given by U. S. N. M. (8274). 
. A red leathery striped Hawaiian kapa, the design and color as shown in PI. S, 2. 
Wilkes Expedition, given by U. S. N. M. 


. A fine waoke pepehi kapa from Tahiti; the mottling is shown in PI. 35, 1, and is 


described in the text. Brought home by Captain Nathaniel Page, 1812-1818, 
and given by P. A. S. (E. 3156). 
. Portion of a fine sula brought from Fiji. S.C. Phillips, 1832. Given by P. A.S. 
(E. 3175). This masi is lined in black and red as shown in Pl. 34, 2. 
. A rich brown kapa punctured and pasted on a white substratum (Pl. 36, 2). 
Brought from the Hawaiian Ids. about 1820 by Captain Driver and given by 
P. AS) (E3770): 


. Portion of a kihei of waoke from Kauai with the rather unusual niho mano beat; 


originally yellow, this color has quite faded out leaving the tasteful border as 
shown in Pl. 44,1. Given by P. A. S. (E. 3173). 

. A kapa originally yellow, stamped as shown in Pl. D, 1. Brought from the 
Hawaiian Ids. in 1802 by Captains Crowninshield and Folger. Given by P. A.S. 
(E3763). 

. Portion of a pa’u, yellow with a line decoration in black and red. Mr. William 
Eldredge, 1807-1810. Given by P. A. S. (E. 3168). 

. A dark brown (AA, 10) waoke kapa lined with black; brought from Tongatabu 
by Captain William P. Richardson, 1812. Given by P. A. S. (E. 3154). 

A fine white, hoopai halua waoke kapa brought from the Marquesas Ids. by 
Captain Benjamin Vanderford, 1826. Given by P. A. S. (E. 3293). 

. A fine white, hoopai waoke kapa brought from Tahuata [Christina], Marquesas 
Ids., by Captain Vanderford in 1826. Given by P. A. S. (E. 3291). 

. A waoke, mole, yellow (originally) kapa ruled as shown in Pl. C, 1. Brought 

from the Hawaiian Ids. in 1802 by Captains Crowninshield and Folger. Given 

by BP. AWS. CE. 3165s 

A waoke, hoopai, white kapa brought in 1841 from the Hervey Ids. by J. W. Taylor 

and given by P. A. S. (E. 3148). 


A Catalogue of the Kapa Studied. 243 


276. A heavy waoke mole kapa, yellow striped with red; “part of a shawl worn by 


Ze 


278. 


279. 


280. 


281i. 
282. 
283. 
284. 
285. 
286. 


287. 


ladies.” Brought from Tahiti in 1799 by Captain Benjamin Carpenter and given 
by the PAS. (EH. 3158): 

A heavy, yellowish, mole kapa, painted dead red on one side (AA, 12). Given 
by P. A. S. (E. 3157)... This is a most remarkable kapa, and when it came into 
my possession I was inclined to attribute it to the Marquesas, although it was 
marked “Hawaii.” I have since found among the kapa used in swathing the 
bones of the dead in the burial caves in these islands similar cloth. It is thick 
and covered with sharp raised lines arranged in the pawehe manner with dots in 
the centre of the rhombs, and on the reverse the depressions are almost as distinct 
as the ridges; it is like the impression on paper made by a seal and its matrix. 
In the specimen these lines are one-sixth of an inch apart, and on the limited 
size (6Xg inches) there is little evidence of overlapping as is usual when these 
lines are made in the nao by the ordinary beater; and yet we have specimens of 
this same pattern in minature where almost the same regularity occurs when the 
process was undoubtedly beating with the iekuku. When it is understood that 
the cloth is thick and the relief almost that of embossed Cordovan leather, the 
skill and strength of the maker will be appreciated. 

Portion of a pa’u brought from the Hawaiian Ids. in 1802 by Captains Crownin- 
shield and Folger. It is stamped in black and ruled with compound red (paiula) 
lines alternating with the stamps, and the stamped bands have a faint streak of 
noni down the midst. Given by the P. A. S. (E. 3164). 

Thick, yellow, waoke, hoopai kapa, stamped in crimson with fern leaves; from 
Tahiti, said to have been made by the Queen. Given by the P. A. S. (E. 3167). 
Gray waoke kapa of pepehi beat and mottled with red on one side, soft and thin. 
Brought from Nukuhiva, Marquesas Ids., by Captain Nathaniel Page, 1812-1818. 
Given by P. A. S. (EF. 3292). 

Red and black, leathery, hoopai kapa, varnished on one side; from Aitutaki, 
Hervey Group. B.N. Silsbee, 1830-1840, and given by P. A. S. (E. 3176). 
White hoopai, waoke kapa brought from Pitcairn’s Island by Dr. Babbit, 1822. 
Given by P. A. S. (E. 3147). 

White hoopai, waoke kapa, brought from Hivaoa | Dominica], Marquesas Ids., in 
1826 by Captain Benjamin Vanderford, and given by P. A. S. (E. 3294). 

Mole, waoke kapa, unbleached; brought in 1802 from the Marquesas Ids. by 
Captains Crowninshield and Folger. Given by P. A. S. (3295). 

Yellow waoke, pepehi kapa; brought from the Hawaiian Ids. by Mr. William 
Eldredge, 1807-1810. Given by P. A. S. (E. 3169). 

A very open, thin, white, mole kapa from the island Geby, just south of the 
equator, between Gilolo and New Guinea. Given by P. A. S. (E. 3150). 

A very old piece of the Tahitian yellow waoke hoopai kapa stamped with crim- 
son fern print (Pl. 19, 2). There are really two sheets of kapa pasted together, 
each very thin, as shown where water has destroyed the pia paste on one edge. 


Given by P. A. S. (E. 1914). 


244 


288. 


289. 


290. 


291. 


299. 


300. 


301. 


302. 


Ka Hana Kapa. 


Mole waoke kapa, stamped in black and overlined in red; the ground yellow. 
Brought from the Hawaiian Ids. in 1802 by Captains Crowninshield and Folger. 
Given by P. A. S. (E. 3162). 

Yellow, mole kapa, stamped in black and painted in red (Pl. D, 2). Although 
attributed in the P. A. S. to Marquesas, I am inclined to place it with Hawaiian 
work; the stamps are a common Hawalian pattern and the whole character of 
the work indicates a Hawaiian origin. 

A similar yellow, mole, stamped kapa of undoubted Hawaiian origin (Pl. B, 1); a 
portion of a pa’u brought from these islands by Captains Crowninshield and 
Folger in 1802, and given by P. A. S. (E. 5152). 

The specimen of hoopai, olena, ribbed kapa was perhaps part of a chief’s malo, 
has a broad transverse stripe of bright red, and longitudinal stripes of red and 
green. Brought from Hawaiian Ids. by Captain Nathaniel Page, 1812-1818, 
and given by P. A. S. (E. 3171). 


. A beautiful specimen of mole, white kapa decorated as shown in Pl. P, 2. 


Hawaii, 1827. Given by P. A. S. (E. 3160). 


. A white, mole, waoke kapa from New Zealand. C. F. Williams, 1850. Given 


bye: Ac S. (e319). Very rare: 


. A soft, white, hoopai under sheet of a kapa moe brought from the Hawaiian Ids. 


by Captains Crowninshield and Folger, 1802. Given by P. A. S. (E. 3166). 


5. A similar specimen of hoopai (finer) white kapa brought from Tahiti. John F. 


Jeffrey, 1802. Given by P. A. S. (E. 3146). 


. Portion of yellow, waoke kapa dress from Tahiti, stamped with crimson by grass 


and other leaves. Given by British Museum. Now faded to a greenish brown 
ground. 


. A neat pattern of crimson rectangles (length three times width) on yellow, thick, 


hoopai kapa. Tahiti. Given by British Museum. 


. A thick mole, unbleached kapa lined and painted in red and black longitudinal 


lines and stripes, the former often crossed by one or more series of the same color. 
Hawaiian previous to 1830; collection of Sir. Edward Belcher. Given by the 
British Museum. 

A specimen of Tahitian yellow kapa stamped with red circles by bambu ends, 
that shows a very thin yellow sheet pasted to an equally thin white sheet; a 
thicker hoopai, white sheet underlies this as in the Hawaiian bed kapa and pa’u. 
Given by the British Museum. 

Like the last, a specimen of Tahitian work; the two sheets are both hoopai and 
equally yellow, and the fern leaf impressions have not penetrated the under of 
the pasted sheets. Given by the British Museum. 

A leathery kapa, red and varnished on one side, brown beneath, that may have 
come from the Marquesas. Given by the British Museum. 

A thick, white, mole kapa with bands of complicated ruling in black, the inter- 
stices red with noni (Pl. V,3). Perhaps of Tongan origin. Given by British 
Museum. 


aor 


304. 


305: 


306. 


307- 


308. 
oo: 


310. 


Ze 
Bae 


313- 
314. 
315- 
316. 
317: 
S18; 
319- 
320. 


g21. 
B22. 


gA3- 


A Catalogue of the Kapa Studied. 245 


A white, mole, Hawaiian kapa lined closely with red and brown lines variously 
grouped. The specimen was given by the British Museum and shows a fine over 
and under seam. (See Pl. Q, 2.) 

A thin, white, mole kapa covered closely with black lines and stripes, from 
Tongatabu. Given by the British Museum. 

A thick, red (AA, 12, but darker) kapa to which is attached a yellow, mole, 
roughly beaten sheet. The darker has a grain apparently produced by a pupu 
beater, but considerable wear has broken up the fibres between the round thicker 
spots and flattened these spots so as to make the diagnosis difficult. Given by 
the British Museum as Hawaiian. 

Very thin and beautiful piece of kalukalu Hawaiian kapa, probably an under 
sheet of a kapa moe; a mottled gray; very old. Given by the British Museum. 
A coarse, white, hoopai Hawaiian kapa of the date of Vancouver’s second visit to 
the group. Given by the British Museum. 

Oiled, mole pa’u, dyed noni red, from Hawaiian Ids. Given by British Museum. 
Hawaiian matting consisting of a thick, mole kapa, white with broad red bands; 
to this is pasted a thin kapa of hoopai halua beat. Given by the British Museum. 
Mamaki sheet, hoopai (very fine), ohelohelo tint; under sheet of kapa moe. 
Hawaiian. Given by the British Museum. 

Two sheets of thick hoopai matting, white. Given by the British Museum. 

A thin pepehi sheet, perhaps yellow formerly; under sheet of kapa moe from: 
Hawaiian Ids. Given by the British Museum. 

Thick white hoopai kapa from Hawaiian Ids., stiff and apparently unused. 
Given by the British Museum. 

The yellow under sheet of an Hawaiian pa’u; some lines of color have been trans- 
ferred from the kilohana. Given by the British Museum. 

Portion of a fragment of a kihei from Kauai; the beat is hoopai pawehe, originally 
yellow, traces of which cling to the oil from the stamped red and black pattern. 
(El M2.) 

A white, mole, waoke malo from the Marquesas. 

A dark gray mamaki, hoopai, lalani kapa, the stripes of dark and lighter red 
closely covering the surface. Hawaiian. 

A thin sheet of orange-red kalukalu kapa. Hawaiian. 

Pa’u hula, yellow with black stamps, halua pupu beat. Hawaiian. 

A mamaki, hoopai, ouholowai, lalani, kapa pa’u. Hawaiian. 

Mamaki, hoopai, halua, lepo colored under sheet of an Hawaiian pa’u. 

Mamaki, hoopai, brown kapa, marked with darker brown crossed lines (PI. H, 1). 
Hawaiian. Purchased from a native who said it came from Kauai. Probably from 
a burial cave. 

A thin, mole, oiled kapa, dyed red and ruled with black in rhombs covering two- 
thirds of the surface. Colle&ed by Captain Beechey, R. N., at Hawaiian Ids., 
1825-1826. Given by H. Balfour, Esq. 


246 

324. 
325: 
326. 
327: 
340. 
343 

344- 


345: 


346. 


347. 


348. 


349- 


359: 


360. 


361. 


362. 


Ka Hana Kapa. 


A red puakai, mole kapa, rather indefinitely lined and marked with back blotches. 
Molokai. Given by Mary Ailau. 

A yellow lined puakai kapa ready for coloring red. Given by Mary Ailau. 
Portion of a kihei from the colleftion of Mrs. Whitney, Kauai; thin hoopai 
halua, the red noni, stamped as shown in Pl. Z, 3 (frontispiece). Given by 
Mary Ailau. 

Black kapa shroud, hoopai halua beat, sent to Boston from Hawaii in 1836. 
From American Board of Commissioners for Foreign Missions. 

[Numbers omitted are duplicates of the Museum collection. } 

Fragment of an ancient pa’u, yellow, stamped with alaea and nanahu (PI. L, 2). 
Thick, mole Hawaiian kapa, ruled and stamped as shown in Pl. P, 1. From 
A. BC. F.M. “Boston. 

A tough, white, Hawaiian malo of the olden time (Pl. 35, 2), not unlike those 
described by Cook. 

Specimen of the half perforated kapa of Hawaii. The beat is halua pawehe of the 
united sheets, the under one being a bluish gray at present. Given by Gorham 
D. Gilman of Boston. 

A fragment of brown (once yellow?) mole kapa stamped in black and smudged 
with red noni. The beauty of color and the clearness of the stamp have not been 
reproduced in Pl. Z, 1, by the “three color process.” Given by Gorham D. Gilman 
of Boston. 

A thick, mole, Hawaiian kapa from Maui, shown in Pl. U,1. Given by Gorham 
D. Gilman. 

Very old Hawaiian pa’u, originally yellow hoopai and stamped with alaea and 
nanahu, as shown in Pl. L, tr. 

A fragment of thin pepehi halua kapa, originally yellow with red and green 
stamps (Pl. B, 2). 

A large sleeping mat of thick kapa figured with a beautiful design in fine black 
lines; the style of ornamentation is Mafor. From the Mafor Papuans of Ansus, 
Joby Island, Geelvink Bay, N. W. New Guinea. Colle&ted by Beccari in 1873. 
Size 3570 inches; the ends dentiled. Given by Enrico H. Giglioli of Florence. 
A fine apron of figured kapa (woman’s dress) from Pisang (banana) Bay, S. W. 
New Guinea. It is a new locality only recently explored, immediately east of 
Utanata. The apron is fifteen inches wide and two feet long, the five dentils at 
the base each ending in five straps five inches long. The label of the Dutch 
collector fixes the date as April, 1902, and that it was “geklapti” from Brous- 
sonetia papyrtfera, and that the red-brown coloring matter is from the mangrove 
bark. Given by E. H. Gigliolli. 

A fine white, mole, fringed kapa dress from Tahiti. The fringe is dyed a light 
blue in places, and there are seven bands of double fringe pasted across the sheet 
very neatly. In two places the dress is ‘‘slashed.” Given by E. H. Giglioli. 

A portion of the Cook kapa from the Florence collection already referred to 


(Pl. W, 2). Given by E. H. Giglioli. 


A Catalogue of the Kapa Studied. 247 


363. Ornamented end of a beautiful Fijian sula given by P. A. S. (E. 3179). Itis 
shown greatly reduced in Pl. 14. The specimen measures 32 X28 inches. 

364. Ornamented end of a Fijian sula, similar in character to the last but of much 
inferior execution. It measures 24X43 inches. Given by P. A. S. (E. 3174). 

365. Bed curtain of reddish brown, hoopai halua tapa from Tahiti, lined with two 
series of darker red rulings with dots of same color at the intersections. Peale 
collection, 4445. Given by Philadelphia Academy of Natural Sciences. 

366. Thin mamaki, ouholowai, hoopai, lined in black kapa moe. Hawaiian. From 
Peale collection, 4446. Given by P. A. N.S. 

367. Waist ribbon from Kauai; hoopai halua (Pl. E, 1). Peale colleGtion, 4448. 
Given by P. A. N. 5. 

368. Waist ribbon from Kauai; halua pupu (Pl. E, 3). Peale colleGtion, 4449. 
Given by P. A. N.S. 

369. Waist ribbon from Kauai; halua pupu (Pl. E, 2). Peale collection, 4450. 
Given by BP. A: N.S. : 

370. Waist ribbon from Kauai; pepehi, stamps of black and red. Peale collection, 
A451. Given by P. A. N.S. 

371-379. A series of specimens from Peale colleftion; 4452-4460 much alike, varying 
only in the arrangement of the same colored lines and black figures as shown in 
Pl. 48. All from Kauai, and given by P. A. N.S. 

380-381. Two shawls differing from the ribbons merely in size. Peale collection, 
4468, 4469. Given by P. A. N.S. 

382. Malo of mole, red, puakai kapa; lines transverse, double. Peale collection, 4471. 
PIAA NewS: 

383. Malo of thick, mole kapa; colored blue-gray, over which are bands of five black 
lines, the end of broad red band. Peale collection, 4472. P.A.N.S. 

384. Malo of thick, mole kapa from Oahu; yellow border is stamped with black zig- 
zags, the rest is stained red. A small hole in the specimen has been mended with 
a patch rather clumsily sewn on. Peale collection, 4473. P. A. N.S. 

385. Thin sheet of halua pupu kapa, faded yellow. Peale colleGtion, 4475. P.A.N.S. 

386. Portion of an ohelo-colored, mole pa’u from Oahu (PI. K, 2). Peale collection, 
AAso. P. A. N.S. 

387. Another ohelo-colored, mole pa’u stamped in black. Peale collection, 4481. 
PAN 29: 

388. Pa’u, once yellow, well stamped with black figures; beat niho mano. Peale 
collection, 4482. Given by P. A. N.S. 

389. Pa’u hula, hoopai pawehe, yellow, with red and black stamps (Pl. N, 1). Peale 
collection, 4483. Given by P. A. N.S. 

390. Malo of thin, gray, mole pupu kapa, lined with black and red. Peale collection, 
Ansara es Asi. S: 

391. Malo, white hoopai pawehe kapa stamped with black “suns” in blocks of twenty 
or forty. (PI. 44, 2.) Peale collection, 4485. Given by P. A. N.S. 


248 


392 


393- 
394. 
395: 
396. 


397- 


398. 


399: 


400. 
401. 


402. 


403. 


404. 


Ka Hana Kapa. 


. Pa’u mamaki, hoopai, brown, with a broad band of red and three narrow lines 
of the same color on each side, then two broad bands with five narrow lines 
enclosed; from Oahu. Peale colle&tion, 4486. P. A. N.S. 

Pa’u hula, yellow, pepehi halua, stamped with black bands; from Oahu. Peale 
collection, 4487. P. A. N.S. 

Pa’u hula, hoopai pawehe, yellow stamped with red and black zigzags. Peale 
colle@ion, 4488. P. A. N.S. 

Pa’u mamaki, hoopai halua, brown, with dark red broad and narrow stripes; Oahu. 
Peale collection, 4489. P. A. N.S. 

Strip of mamaki hoopai halua kapa with very broad red and black bands; from 
Oahu. Peale collection, 4490. P. A. N.S. 

Hawaiian malo, oiled, of gray fabric with lines of black fibre and a beat that I 
have seen in no other kapa. It may be that the maker used two beaters, one in 
each hand, and beat together. The lines of black fibre, plain enough by reflected 
light, are nearly invisible by transmitted light. Peale collection, 4491. P. A. N.S. 
Portion of a kihei from Oahu; a red lace-like ground, kapuai koloa beat, striped 
with black lines of varying breadth. Peale collection, 4492. P. A. N.S. 

A thin, brown (AA, 9) ground with broad and narrow stripes of darker tint 
(AA, 11); the beat is puili. Peale colleCtion, 4493. P.A.N.S. 

A leathery, yellow, hoopai kapa from Oahu, decorated as shown in PI. S, 2. Peale 
collection, 4494. P. A. N.S. 

A pa’u of rich yellow, pepehi beat, stamped with large rhombs of red and black, 
and a narrow border lined in the same colors. 

A corner of a very old and thin kihei, gray and stamped with an elaborate 
border seven inches wide and with two bands of what may have been originally 
noni red. 

A fragment of leathery kapa of ancient Hawaiian style covered with red and 
black lines and grids as shown in Pl. S, 1. Given by Enrico H. Giglioli of 
Florence, from the Cook collection in that city. 

A remarkable shroud from a burial cave on Hawaii. ‘This consists of two sheets 
of reddish brown kapa sewn together by a hank of untwisted fibre (probably hau) 
in a manner of which I have seen no other example. Starting with a knot in the 
hank, the fibre comes to the surface six times in the space of 2.6 inches; the 
stitches being an eighth inch apart, and rather spread on the surface, while the 
connecting cord beneath the under sheet is straight and narrow; then the fibre 
continues de/ween the sheets 2.6 inches, coming up four times as before, and so on 
to the end of a long side of the kapa which measures in its rather curled and 
shrunken state 67.7 feet, or about the size of an ordinary kapa moe. 

The upper sheet of No. 404 is composed of a thin sheet of waoke, perhaps 
unbleached, perhaps stained by the dye of the upper layer, pepehi halua pawehe, 
when pasted to the upper layer which is thicker and dyed with kukui bark; the 
beat of this thicker sheet is pepehi halua, and the shrinkage has produced the 


405. 


A Catalogue of the Kapa Studied. 249 


long straight lines which so closely simulate cotton cords. ‘The under sheet is 
of similar character and color. By purchase. 

I should recall the fact that in the caves in which the remains of alii are de- 
posited, trusting to various means of concealment, all of which time and the enter- 
prise of seekers are likely to reveal, the bones, or in some cases the dried mummy 
(as in the caves on the Waimea, Hawaii, plain, now covered after remaining open 
some years) were wrapped in kapa of the choicest, and age added no little value to 
the kapa selected; hence we may place the age of a cave deposit at ninety or a hun- 
dred years, while the kapa found around the remains may (in the wonderfully dry 
caves of Hawaii) have been made a century or even more before the burial. These 
very old specimens present the greatest puzzle to the student of kapa-making, 
for they seem to show processes in the manufacture quite distinct from those 
known in the last century. Not one of the Cook kapas are comparable with the 
torn, wrinkled, stained, often decayed fragments from the caves. After careful 
and prolonged disinfection in the vapor of carbon bisulphid, they must often be 
soaked in water to remove the long time creases and wrinkles, and this process 
serves to show us if the fabric is in different layers pasted together; the micro- 
scope must then be used to determine the source of the fibre. Even then the nao 
or beat is, as in the present example, different from those produced by any of the 
great number of beaters in this Museum, and long and painstaking examination 
of the unusual impressions in the fabric will not always suggest the method; then 
must follow the teasing out of the fibre under the microscope to follow its devious 
way through the fabric. With all this care the wish arises that one could only 
have seen one of these pieces beaten! 

A red-brown paikukui kapa of plain pepehi halua beat; found in the same burial 
cave as the last number. With these was found a royal malo of ancient make, to 
be described below with the Museum collection, No. 8842. 


406. A thin, oiled kapa of halua pupu beat; perhaps once a portion of a pa’u, but in 


later times much more valued for sorcery methods. Source not known. 


SPECIMENS OF KAPA IN THE BisHop MusEUM. 


The numbers are those of the Museum Accessions. 


2310. Pa’u, oiled, single sheet, nao mole; 3.5 XQ ft. 


Ae 
OO 
2B1 2 


Pa’u, oiled, three sheets, kilohana figured, mole; 3.5 X13 ft. 
Pa’u, oiled, five sheets, kilohana figured, mole; 2.8X11 ft. 
Pa’u, oiled, two sheets, kilohana figured, mole; 3.5 Xq ft. 


2314. Pa’u, oiled, three sheets, kilohona figured, mole; 3.5 Xq ft. 


Beiuse 


Pa’u, oiled, fragment of under sheet; 2.56.7 ft. 


2316. Pa’u, oiled, two sheets, kilohana figured all over with black and red stamps on 


yellow, mole, under sheet halua; 3 Xo ft. 


2317. Pa’u, oiled, kapa mahuna with brown stripes, hoopai halua, fragment; 3.2 X 2.2 ft. 


Queen Emma colle¢tion. 


250 Ka Hana Kapa. 


2318. Pa’u, in four sheets of very thin kapa; nao halua pupu; purplish, with red, black, 
and combination of the two colors, triangular figures; 3X11.2 ft. J. S. E.* 
2319. Pa’u, four sheets, yellow, with black and red figures; nao halua pupu; 3.5 XQ ft. 

Queen Emma collection. 

2320. Pa’u, single yellow sheet with black stripes and designs; nao hoopai halua; 
Adee Bit. 

2321. Pa’u, five sheets; kilohana yellow, with borders and bright red stamps; sheets 
1, 2 and 4 yellow; 3 and 5 brown; nao xr mole, others halua pupu; 3.2XgQ ft. 
2322. Pa’u, five sheets; kilohana yellow-white, figures in red; nao 1, 2 mole halua, 

3.4, 5 nananahuki; 2<10-5-1t. 

2323-24. Pa’u of yellow cotton cloth stamped in black in Hawaiian patterns; a good 
imitation. 

2325. Pa’u, single sheet with inserted triple strips in red and black between two thin, 
mole sheets of white, and the whole beaten together; nao mole; 3.313 ft. 
(See No. 2505.) 

2326. Pau ohelohelo (faded) with stripes and black stamps, hoopai halua; fragment 
from Molokai. 

2327. Pa’u hula, yellow, with triple serrate black stripes; nao halua pupu; 3.616 ft. 

2328. Pa’u paiula, five sheets, plain, fine and thin; nao 1 halua pupu, 2 hoopai pawehe, 
3 hoopai halua, 4 halua upena pupu, 5 halua upena; 3X7 ft. 

2329. Pa’u, red-brown, with black stripes and stamped border; faded yellow fragment. 

2330. Pa’u hula, mole, yellow, with stamped black zigzags and bands; 3.6 1o ft. 
JS. EB: 

2331. Pa’u hula, yellow, with parallel and converging red and black serrate lines; 
nao lalgaspirpus 3:7 >< 10 ft. Js. EB: 

2332. Pa’u hula, yellow, with black and red stripes, mole; 3.7 X Io ft. 

2333. Kapa moe, kilohana red-brown, with broad gray stripes; one blue and two white 
sheets, all halua pupu; 7.2X1o ft. 

2334. Kapa moe, kilohana mottled gray, with four white sheets, soft, halua upena 
pupu; 8X12 ft. Queen Emma collection. 

2335. Kapa moe, kilohana white, with red and black triangles, hoopai halua; a rotten 
fragment from the Hawaiian Museum. 

2336. Kapa moe, kilohana blue, with gray figures and stripes, modern decoration; 
four white sheets, nao in all but last halua pupu, that pupu; 6.5 X9.7 ft. 

2337. Kapa moe, kilohana paiula, the red from foreign cloth; one white sheet; 5.7 X 10 ft. 
Made in 1868 by Huli of Waiea, S. Kona, Hawaii. J. S. E. 

2338. Kapa moe, kilohana white, with stripes of red triangles; four white sheets, all 
halua pupu; 7.5 X9.7 ft. 

2339. Kapa moe, kilohana white, with blue and pink unartistic figures; three white 
sheets, nao in all halua pupu; 6X7 ft. 


*Mr. Joseph S. Emerson, on the staff of the Hawaiian Government Survey, sold to the Hon. Charles R. Bishop, 
at various times, his ethnological collections, to which his familiarity with the natives and their language added 
considerable value, and Mr. Bishop gave all these to this Museum. 


A Catalogue of the Kapa Studied. 251 


2340. Kapa moe, kilohana pink and blue; four white sheets, halua pupu; 7.5 X10 ft. 

2341. Kapa moe, kilohana white, with broad pink and narrow gray stripes; four 
white sheets, all halua pupu; 7.79.5 ft. Kauai. 

2342. Kapa moe, kilohana red, with square gray patches; nao kapuai koloa; four 
white sheets with nao indefinite; 7.59.5 ft. 

2343. Kapa moe, kilohana in two sheets of soft brown lalani, the stripes of darker 
brown; three half inch stripes, fifteen narrow ones and repeat; same on both 
sheets which are hoopai halua; 6.7 X 1ro ft. 

2344. Kapa moe, kilohana red-brown, varnished, striped with red and black, the latter 
wider; sheet 2 gray, puili, brittle, with black stripes; 3 darker and striped, hoo- 
pai; 4 lighter gray; 7X10.5 ft. 

2345. Kapa moe, kilohana red-brown, with broad and narrow dark brown stripes; 
old and thin; nao of 1-4 hoopai pawehe, 5 iwi puhi; 67.7 ft. 

2346. Kapa moe, kilohana and four sheets; dark brown, hoopai striped with black; 
wety heavy 3) "7-2 11.7 it. 

2347. Kapa moe, kilohana and four sheets mamaki hoopai, dark brown (AA, 10) 
striped with black; ouholowai; all sheets striped with great variations of broad 
and narrow lines; 7.7X11.2 ft. From Hawaiian Museum. 

2348. Kapa moe, kilohana pink, with blue mottled stripes; four white sheets, all 
halua pupu; 7X9.7 ft. Made about 1881 by Kukona of Wailuku, Maui. J.S. E. 

2349. Kapa moe, kilohana (1) pink, with broad mottled gray zigzag stripes, kuilewa; 
white sheet; kilohana (2) gray, with red mottled stripes; two white sheets, all 
haluapupu; 6:7 X92 ft. J.o: E- 

2350. Kapa moe, kilohana, two dark brown, plain; three sheets ginger-colored, soft; 
nao of all halua pawehe; 7 X¢gQ ft. 

2351. Kapa moe, kilohana paiula stamped with dark gray rhombs; one white sheet; 
all halua pupu; 7.2X1o ft. 

2352. Kapa moe, kilohana blue, with black squares and triangles; one white; kilo- 
hana (2) white with broken stripes; two white sheets; 1210.5 ft. Keelikolani 
collection. 

2353. Kapa moe, kilohana ohelohelo with dark mottlings; four white; 6.59.7 ft. 

2354. Kapa moe, kilohana paikukui stamped with black; four white sheets; 97.5 ft. 

2355. Kapa moe, kilohana yellow-brown, with dark bent knee band (Fig. 125); one 
white, one pink, one white, one blue; 7Xg.7 ft. Hawaiian Museum. 

2356. Kapa moe, kilohana salmon color, with red and black stamped stripes; one 
white; kilohana (2) stamped in red and black; one white; nao of all halua pupu; 
8Xg.2 ft. Hawaiian Museum. 

2357. Kapa moe, kilohana paiula, with mottled stripes; four white sheets; sewed with 
kapa cord; kilohana and third sheet halua upena, the rest pupu; 6.58.5 ft. 
Hawaiian Museum. 

2358. Kapa moe, kilohana paiula, with six stripes of nanahu; two gray (BB, 4) sheets, 
all kapuai koloa; 6.58.7 ft. Hawaiian Museum. 


252 Ka Hana Kapa. 


2359. Kapa moe, kilohana white, with red beaten in in stripes about four inches 
wide; one nanahu gray, three white, all with nao halua pupu; stiff and papery; 
6.58.5 ft. Hawaiian Museum. 

2360. Kapa moe, kilohana red with faint blue stripes; one white, one red, two white; 
various beats, mostly halua pupu; 7.39 ft. Hawaiian Museum. 

2361. Kapa moe, kilohana paiula, with gray mottled bands of beaten-in red fibre and 
charcoal; three white sheets, coarse and heavy; sewed with kapa cord; 7Xgq ft. 
Waipio, Hawaii. J.S. E. 

2362. Kapa moe, kilohana white, with black stamped stripes (Pl. 42, 1); four white 
sheets, all halua pupu; 7.6X10 ft. J.S. E. 

2363. Kapa moe, kilohana white, with black and brown stripes, hoopai halua pawehe; 
We og tt: 

2364. Kapa moe, kilohana and two sheets all black; 8X 10.3 ft. 

2365. Kapa moe, kilohana, three sheets of ginger-colored soft kapa, nao kapuai koloa; 
F396 0) tke 

2366. Kapa moe, kilohana of coarse mole kapa with broad red and black bands painted 
on the yellow ground; 5.78.7 ft. 

2367. Kapa moe, kilohana white, with red and gray stripes, nao halua pupu; 5.7 X9.2 ft. 
From Keoni of Kiilae. J. S. E. 

2368. Kapa moe, kilohana gray, halua pupu, 8X 1o ft. 

2369. Kapa moe, two sheets of white kapa, nao halua upena, sewed together in the 
usual way; 4.78 ft. Used, it is said, to wrap children in. J. 5S. E. 

2370. Kapa moe, kilohana mamaki eleuli, uwahaao, kuikui, hoopai; 6x7 ft. Has 
been washed. Hawaii. J.S. E. 

2371. Kapa moe, kilohana mamaki, puili, brown-yellow; 8g ft. Punaluu, Kau, 
Hawaii. J.S. E. 

2372. Kapa pa’u, light brown, coarse, mole, very strong linen-like; 2.3 41.5 ft. 

2373. Kapa moe, kilohana mamaki, hoopai, banded zigzags and lines (kuilewa) in 
noni and nanahu' 56.2 ft. await. JS. E. 

2374. Kapa moe, kilohana, red-brown, kapuai koloa, stiff; 7.58.5 ft. 

2375. Kapa pa’u olena, hoopai pawehe; 3.3 X 16.2 ft. 

2376. Kapa malo, plain white, mole fragment; 1.23.2 ft. 

2377. Kapa malo, light salmon color striped longitudinally with kukui gray; .8X6.7 ft. 
Jes. 

2378. Kapa malo niau (alaea), four longitudinal stripes black, mole. J. S. E. 

2379. Kapa malo olena, with black patches, nao nananahuki; .7X7 ft. 

2380. Kapa malo with pink and gray zigzags; .7X7 ft. 

2381. Kapa malo, blue-gray, mole, coarse; 1X6.5 ft. 

2382. Kapa malo olena, mole halua, huipu na uhane ipo; 114.2 ft. Used to call 
together bad spirits. 

2383. Kapa malo olena, nao niho mano; .5x7 ft. For boys. J.S. E. 

2384. Kapa pa’u olena, with stripes and figures in red and black, nao hoopai halua; 
B. boc ous EE. 


A Catalogue of the Kapa Studied. 253 


2385. Kapa pa’u, ginger-colored, three sheets, mole, red and black stamps; 4.5 x7 ft. 
Old and fine work. 

2386. Kapa pa’u mao, puahala, soft; 3.5 Xo9 ft. 

2387. Kapa pa’u, ginger-colored, nao halua upena, rebeaten; 3.5 XQ ft. 

2388. Kapa pa’u, dyed with awapuhi and lemon, nao halua upena pupu; 4X13 ft. 

2389. Kapa pa’u, four sheets, ginger color, all halua upena pupu; 3.59.5 ft. Old and 
soft. Iliipu. Queen Emma collection. 

2399. Kapa pa’u hula puakai, two sheets, very old; outer with two broad stripes of 
brown enclosing two narrow ones; inner with same broad stripes enclosing three 
pair of the narrow ones; 2.6X13.7 ft. 

2391. Kapa pa’u hula puakai, two sheets, mole, old, ruled with broad and narrow 
lines; 3X10.5 ft. 

2392. Kapa pa’u hula puakai, brown, closely transversely striped with darker brown; 
Deora tte 

2393. Kapa mahunalii, nao halua pawehe; 1.65 ft. The most valuable kapa in 
Emerson collection for kahuna use. Was put by Huki around idol 132 B. P. B. M. 
when that divinity was sent to Rev. Caleb Kimball in Connecticut. J. S. E. 

2394. Kapa aeokahaloa, gray (BB, 8), nao peculiar; 58.5 ft. Used for kahuna work. 

2395. Kapa moe, kilohana white, with noni and nanahu echinus stamps (PI. F, 2); 
nao hoopai; 68.5 ft. Kauai. Whitney collection. Hawaiian Museum. 

2396. Kapa, pink-white, thin, nao launiu, mahunalii; 2.74.2 ft. Remarkably well 
beaten. 

2397. Kapa, white, mole, stamped with bands of black Maltese crosses (niho) alter- 
nating with bands of black echinus and red stamps (Pl. F, 1); 2.37 ft. Kauai. 
Hawaiian Museum. 

2398. Kapa pea palau, yellow, mole, with figures red and black in alternating rows; 
2.2X6ft. Foreign pattern. Hawaiian Museum. 

2399. Kapa moe, kilohana paiula, with four bands of mottled black in pairs of triangles; 
four whitish sheets, all hoopai halua; 89.3 ft. 

2400. Kapa moe, kilohana paiula kuilewa pattern in gray; four white sheets sewed 
by white kapa cord; nao in all halua pawehe; 8XoQ.6 ft. 

2401. Kapa moe, kilohana paiula uniform; four yellowish white sheets, very soft, 
mole, sewed with red kapa cord; 8.7 X 10.3 ft. 

2402. Kapa moe, kilohana paiula, with mottled stripes of nanahu; four soft white 
sheets; beat of all kapuai koloa; sewed with kapa cord; 8X11 ft. 

2403. Kapa moe, kilohana paiula, with four blue stripes; four white sheets; nao of 
I, 2, 5 halua pupu; of 3 and 4 pepehi; all of soft texture; 8X 10.7 ft. 

2404. Kapa moe, kilohana chocolate (BB, 11); 2 ginger, awapuhi; 3 and 4 chocolate, 
5 ginger; nao in all hoopai halua; 6.69.6 ft. 

2405. Kapa moe, kilohana paiula, with mottled nanahu bands; four white sheets of 
papery texture, all kapuai koloa; 7.5 10.5 ft. 

2406. Kapa moe, kilohana paiula uniform; four white sheets of papery texture, all 
halua pupu, but with different beaters; 7.39.5 ft. 


254 Ka Hana Kapa. 


2407. Kapa moe, kilohana paiula uniform; three white sheets, soft, and all hoopai 
halua 7.59.2 it. 

2408. Kapa moe, kilohana paiula mixed with fine nanahu; four white sheets, all halua 
pupu and stiff texture; 8.5 X11.2 ft. 

2409. Kapa moe, kilohana paiula, with serrate border pointing inwards, of gray na- 
nahu; four sheets yellowish white, much stained and very soft; all halua pupu; 
7 Xi s2) ft. 

2410. Kapa moe, kilohana (BB, 3); one sheet brown, three ginger (AA, 9); kilohana 
halua pupu, others hoopai halua; sewed with kapa cord; 7.5 X ro ft. 

2411. Kapa moe, five sheets (AA, 9), faded, soft, and all hoopai halua; 6.68.6 ft. 

2412. Kapa moe, kilohana pink, much faded, five sheets white, soft, old; nao of all 
hoopai pawehe; 8X11 ft. 

2413. Kapa moe, kilohana paiula uniform; four white, halua pupu sheets; 2 and 5a 
larger rhomboidal pattern in the nao; all very soft; 6XgQ ft. 

2414. Kapa moe, kilohana paiula; all five are delicate sheets; 7.38.6 ft. 

2415. Kapa moe, kilohana plain gray, of pili grass; two sheets, halua pupu; 8.5 11.3 ft. 

2416. Kapa pa’u, with two kilohana, light brown, 1 mole ruled with red, 2 mole ruled 
black, 3 light brown, mole pupu, 4-6 light brown mole; 2.3 11.6 ft. 

2417. Kapa moe mamaki, kilohana dark brown (AA, 10), 2 light brown (AA, 8), 
3 darker (AA, 12), 4 and 5 light brown, all hoopai; 6.27.3 ft. Queen Emma 
collection. 

2418. Kapa moe, kilohana (2) aeokahaloa (BB, 8), with a paiula sheet between; nao 
of all nananahuki; 78.5 ft. Made in Kona, Hawaii, in 1864. J.S. E. 

2419. Kapa moe, kilohana aeokahaloa; two white sheets, halua pawehe, scented with 
mokihana; 6.58.6 ft. Made in 1867 in Kona, Hawaii. J. S. E. 

2420. Kapa moe, four sheets paiula, some yellow in the second; soft and delicate 
texture; mottled beat; 9.5 x13 ft. 

2421. Kapa moe, kilohana paiula; four white, mole sheets, all soft; 9.2x12.5 ft. 

2422. Kapa moe, kilohana white, with paiula bands; four soft white sheets; 8X 10.5 ft. 

2423. Kapa moe, kilohana gone; four white, mole sheets; 79.2 ft. 

2424. Kapa moe, kilohana white, with broad red stripes on which is a chain pattern 
in blue which seems to have been put on last, as it permeates the sheet; four 
white sheets, all halua pupu; heavy and papery; 7.5X10.5 ft. 

2425. Kapa moe, kilohana paiula, red fibres on the surface, white underneath; two 
white sheets, all halua pupu; 7Xg9.7 ft. Stitched withthread. Hawaiian Museum. 

2426. Kapa moe, kilohana paiula, foreign color made about 1858, mottled; two white 
sheets, one of same date thin and soft, kalukalu, the other made in 1847, all by 
Kanopa of Kona, Hawaii; nao of all hoopai halua; sewed by strip of kapa twisted; 
Gs xo it. JS: 

2427. Kapa moe, kilohana faded red and blue, halua pupu; two white hoopai sheets; 
6X8 ft. Made in 1868 in South Kona, Hawaii. J. S. E. 

2428. Kapa moe, three sheets white, 1 and 2 niho liilii, 3 halua niho mano; 6X8 ft. 
Made in 1868, Hawaii. J. S. E. 


A Catalogue of the Kapa Studied. 255 


2429. Kapa moe, kilohana paiula, with nanahu in rather indistinct squares; four white 
sheets, all halua pawehe; 8X10 ft. Made at Laie, Oahu. J.S. E. 

2430. Kapa moe, kilohana paikukui; two sheets olena, all hoopai; 7.39 ft. Hawaiian 
Museum. 

2431. Kapa moe, four ginger-colored soft sheets; 5.56.5 ft. 

2432. Kapa moe, kilohana (Pl. 40); the quadrants of the circles are stamped in black 
and red alternating; the circumference is stamped in black with a slightly differ- 
ent figure; the small figures between the circles are composed of two black and 
two red impressions of the same stamp that was used for filling the circles; 
3-5 X4.7 ft.; a fragment of the original. This belonged to the chief Leleiohoku 
im 1848. ofS) Be 

2433. Kapa moe, kilohana white, glazed (originally yellow?), with borders and stamps 
in black and red (alaea) on yellow; 5.56.5 ft. Hawaiian Museum. 

2434. Kapa moe, kilohana originally olena, with alaea and nanahu zigzag stripes; 
nao hoopai halua pawehe; 7X8 ft. Hawaiian Museum. 

2435. Kapa moe, kilohana puahala kakau; 6.57.5 ft. Hawaiian Museum. 

2436. Kapa moe, kilohana pualima, white, stamped in squares enclosing a four-leaved 
black stamp; border red and black triangles, surface glazed; nao hoopai; 7.7 X 10 ft. 
Hawaiian Museum. : 

2437. Kapa pa’u, olena, with stripes and figures stamped in black; nao halua pupu; 
3x8 ft. Hawaiian Museum. 

2438. Kapa kihei, stamped in red and black (Pl. 46, 2); hoopai halua; 3x4 ft. J.S.E. 

2439. Kapa pa’u hula, olena, with stripes in black; nao halua upena; 2.5 X11 ft. 

2440. Kapa pa’u hula, olena, with black stamps and stripes; nao halua pawehe; 
B><23) tk 

2441. Kapa moe, kilohana light red-brown, with dark brown striped squares as shown 
in Pl. 36, 1; one white sheet halua pupu like the former; one brown, with a rare 
beat, shown in Fig. 36, 18 (beater 2945); 67.5 ft. Made in Pelekunu Valley, 
Molokai; cleaned in 1886. J.S. E. 

2442. Kapa pa’u, olena, with blotchy zigzags in red and black; nao halua upena; 
ZS orOmtits 

2443. Kapa pa’u, blue, with triangles filled with stamped lines in red and black 
(Pl. J, 2); nao halua pupu; 3.5x4 ft.; a fragment. Kauai. 

2444. Kapa pa’u ohelohelo, with black stamps (Fig. 127, p. 209); four light brown 
sheets; the kilohana is halua pawehe, all other sheets halua upena pupu; 
3.2X7.5 ft. Queen Emma collection. 

2445. Kapa pa’u, olena, with black stripes and figures; nao mole; 3.78.5 ft. 

2446. Kapa moe, kilohana yellow (nau) with stripes of black and green painted; mole; 
Gye <oansse alg ysy Je 

2447. Kapa moe, kilohana yellow, with stripes of black zigzags enclosing alaea stamps, 
the stripes converging and diverging longitudinally; 7 X9.3 ft. 

2448. Kapa kihei, with red and green stamps; 5X5 ft. Hawaiian Museum. 


256 Ka Hana Kapa. 


2449. Kapa pvu hula, puakai, mole, ruled in black; one sheet red, ruled in same way; 
BG-2 ft. 

2450. Kapa moe, kilohana composed of a black sheet punctured and beaten to a white 
one (Pl. 435.56 ft. 

2451. Kapa malo waipalupalu, striped with black and red, mole, rough; 1.2X8.7 ft. 
Queen Emma collection. 

2452. Kapa pa’u mahuna, three sheets; 1 hoopai halua, 2 pepehi halua, 3 hoopai; old; 
3-5 X10 ft. 

2453. Kapa pa’u, brown, with black and red stamps; halua pupu; 3.64.5 ft. Queen 
Emma collection. 

2454. Kapa pa’u paiula, hoopai pawehe; 3X15 ft. Hawaiian Museum. 

2455. Kapa, gray-black, from a burial cave; 8.5xX10 ft. J.S. E. 

2456. Kapa moe, kilohana paiula; one pale blue sheet, one white, all hoopai pawehe; 
GiB O75: Sin goa ae Ee 

2457. Kapa poniponi (purple), halua puka; 57.2 ft. J.S. E. 

2458. Kapa moe, kilohana paiula, pale nanahu; nao puahala; four white sheets halua 
pupu; 6X8 ft. Kuina sewed with foreign thread. Hawaiian Museum. 

2459. Kapa mamaki, plain brown, halua puili; 6.58.5 ft. From Kawaihae uka. 
i Bes oe 

2460. Kapa hinahina kuikui, red-brown, rough; nao halua pupu; 5.67 ft. J.S. E. 

2461. Kapa mahuna ohelohelo, hoopai halua; 6.68.2 ft. Hawaiian Museum. 

2462. Kapa moe ipo of Kamehameha III; kalukalu, the finest made; 6.58 ft. J.S. E. 

2463. Kapa keokeo, nao pawehe, old and very soft; 4.38 ft. 

2464. Kapa moe olena, nao halua pupu; 6.28 ft. Made about the middle of the 
last century. J. S. E. 

2465. Kapa kihei; carefully stamped body with border; halua pupu; 66.5 ft. 

2466. Kapa kalukalu, mole; a fragment of good quality. 

2467. Kapa kalukalu, thin, white, but much strained; 1.75.5 ft. 

2468. Kapa ohelohelo, with black stripes and stamps, hoopai halua; a fragment. 
(P1246, 2:) 

2469. Kapa keokeo, with black stamps and pink noni, mole; a fragment. (PI. Z, 1.) 

2470. Kapa pa’u, mole, thick, gray, with red and black stamped bent knee pattern 
(Pires oK rar ft. 

2471. Kapa keokeo lalani, white, with alaea stripes and green colon stamps; a frag- 
ment. CPL Os.) 

2472. Kapa puakai, nao mole; light brown with red spots and bands; one broad band 
alternating with a band of same width (two inches) composed of twelve lines; 
a fragment. 

2473. Kapa puakai, mole, red, used for hoounauna; fragment. J. S. E. 

2474. Kapa moe, kilohana white, with red and blue bands; nao halua puka. Given 
by Liliuokalani. 

2475. Kapa fragment, gray, with bands of painted rusty black zigzags; nao hoopa 
halua. 


A Catalogue of the Kapa Studted. 257 


2476. Kapa pa’u hula, originally yellow, with converging rows of red and black 
stamps; nao hoopai pawehe; a fragment. 

2477. Kapa pa’u, ginger-colored (AA, 5), with red and black stamped bands and 
HIPULESH) 2-56 3-5 Lt. 

2478. Kapa pa’u, orange, with black stripes and figures; nao launiu; 3.58 ft. 
Queen Emma collection. 

2479. Kapa keokeo, nao mole; 5X7 ft. Hawaiian Museum. 

2480. Kapa moe, kilohana paiula, halua upena, very old; 3.510 ft. Hawaiian 
Museum. 

2481. Kapa kihei aeokahaloa; nao halua niho mano; 7.38.7 ft. Made in 1864. 
JES. 

2482. Kapa moe, kilohana mamaki, ahinalii; nao puili; 7.7X9.7 ft. From Kau, 
iawarti J.-S. 4. 

2483. Kapa moe, kilohana eleuli; nao koeau; 8Xg.2 ft. Punaluu, Hawaii. J.S. E. 

2484. Kapa of rich alaea red, darker than AA, 6; hoopai halua; 4.25.5 ft. Bought 
at auction of Estate of W. P. Leleiohoku in 1848. J.S. E. 

2485. Kapa ouholowai, mamaki, striped with brown-red; 7Xo9.2 ft. Punaluu, Hawaii. 
Jase: 

2486. Kapa ouholowai, mamaki, with darker brown stripes in pairs; 79.5 ft. Puna- 
Inu, Hawais J. S: EB: 

2487. Kapa dress, white, mole, with double red and black rulings (PI.C,4). Hawaiian 


Museum. 
2488. Kapa poni, kolu, nanauahuki; 55.5 ft. Not identified in the Emerson collec- 
HOten ices : 


2489. Kapa pa’u hula, paiula; nao puili; 4.55 ft. From Kalalau, Kauai. J.S. E. 

2490. Kapa kihei, glazed, figured red and black, faded; 67.2 ft. 

2491. Kapa kihei, glazed, stamped in red and black squares, hoopai halua; 6X8 ft. 

2492. Kapa kelewai (BB, 12), hoopai pawehe; 6.28.5 ft. Kawaihae uka, Hawaii. 
Jase Ee 

2493. Kapa kelewai; nao hoopai halua; same origin as last; 7X9 ft. J.S. E. 

2494. Kapa pa’u paikukui, with darker stripes; two sheets, both mole; 2.5 xq ft. 
Keelikolani collection. 

2495. Kapa, almost black (AA, 10); nao hoopai halua; 5X8 ft. 

2496. Kapa moe, gray; nao halua puka; 7.58.5 ft. Kauai. 

2497. Kapa moe, kilohana gray nanahu, halua pupu; 8X10 ft. Queen Emma 
collection. 

2498. Kapa moe, four sheets kalukalu, very thin and delicate; 1, 3 paiula, 2,4,5 gray 
nanahu; nao undefined except 1, which is halua upena pupu; 5X6.7 ft. 

2499. Kapa aeokahaloa (BB, 9), halua pupu; 5.77.5 ft. Punaluu, Hawaii. J.S. E. 

2500. Kapa moe, gray nanahu; nao kapuai koloa; 5.67 ft. Hilo, Hawaii, 1886. 
ee Ee 

2501. Kapa aeokahaloa (BB, 4), halua pupu; 8X10 ft. Queen Emma collection. 


MeEmorrs B. P. B. Museum, VOL. III.—17. 


258 Ka Hana Kapa. 


2502. Kapa moe, kilohana paiula (foreign color), mole pupu; 8X8.5 ft. Made in 1886. 
J. S.E. 

2503. Kapa moe, gray sheet from an ancient kuina; 4.16.6 ft. Deverill; Hanalei, 
Kauai. J.$. E. 

2504. Kapa kelewai; nao hoopai pawehe; 6.6Xg ft. Kawaihae uka, Hawaii. J.S. E. 

2505. Kapa moe, haimanawa (Pl. K, 1), the strips of colored kapa inserted, as 
described in the text; nao mole; 39.5 ft. Hawaiian Museum. 

2506. Kapa keokeo, thin and marked with irregular blotches of red; nao mole; 
5-27 ft. Hawaiian Museum. 

2507. Kapa moe, kilohana blue with indigo leaves and foreign cloth; nao mole puka; 
Saxo fh J. 8. 

2508. Kapa moe, kilohana kuilewa pattern; paiula with bands of gray zigzags (BB, 4) 
holei; colored evenly with puakai and the bands added; 7X9.5 ft. Hookena, 
Hawaii. . J: 5S. E. 

2509. Kapa moe, kilohana paiula with blue-gray bands; halua upena pupu; 6.6Xg9 ft. 
Honomalino, Kau, Hawaii. J. 5. E. 
2510. Kapa moe, kilohana paiula with gray nanahu bands; nao nananahuki; 68.6 ft. 

Honuapo, Kau, Hawaii. J. 5S. E. 

2511. Kapa moe, kilohana paiula, mole pupu; 8.511 ft. Made in S. Kona, Hawaii, 
1565. | J.0. BE. 

2512. Kapa moe, kilohana paiula, thick, pepehi; 7 X9.3 ft. 

2513. Kapa paiula, gray on under side, showing through the beats of halua pawehe; 

OMB 4b Jeo. ER: 

14. Kapa paiula; nao mole pupu; 4.66.6 ft. Hawaiian Museum. 

srg, Kapa paiula kalukalu moles 7:4 9.2 ft... J. 5.28, 

16. Kapa paiula, perhaps a hula skirt; halua upena; 4.2X10.5 ft. J.S. E. 

517. Kapa moe, kilohana white, with red (AA, 4) and gray (BB, 4) stripes, the red 

foreign, the gray koa bark; halua pupu; 5.79.2 ft. J.S. E. 

2518. Kapa paiula, with indefinite dark green markings; 7X9 ft. J.S. E. 

2519. Kapa moe, two sheets olena; nao pepehi; 68.5 ft. J.S. E. 

2520. Kapa olena, halua pupu; 8.512 ft. From Honomalino, Hawaii. J. S. E. 

2521. Kapa olena; nao nananahuki; 8.611 ft. From Honomalino, Hawaii. J.S. E. 

2522. Kapa olena; nao nananahuki; 7X9 ft. From Ninole, Kau, Hawaii. J. S. E. 

2523. Kapa olena, mole halua; 7.5xX9 ft. Honomalino. J. S. E. 

2524. Kapa olena, halua maka upena; 4.5xX11 ft. Honomalino. J.S. E. 

2525. Kapa moe, olena; 4.56 ft. Made in 1868. J.S. E. 

2526. Kapa moe, olena, bright, halua upena; 7Xg ft. Made in S. Kona, Hawaii, in 
1864.. J.5. 

2527. Kapa pa’u olena, old; nao hoopai; 3.28 ft. J. S. E. 

2528. Kapa mahuna, olena, paikukui; nao hoopai pawehe; 3.55 ft. 

2529. Kapa pa’u olena, mole, with longitudinal stripes of deeper color; 2.57.7 ft. 

2530. Kapa olena, much faded; hoopai pawehe; 3.23.5 ft. Hawaiian Museum. 


mn 


nN 


NO NS N ND 


A Catalogue of the Kapa Studied. 259 


2531. Kapa kihei mamaki; ahinalii; soaked in kalo patch and then dyed with seeds 
Olea eNvstes) peaoNpUilineacArtt sora childs isos 1: 

2532. Kapa fragment, halua pupu (AA, 7); 3x5 ft. 

2533. Kapa ouholowai, dark brown (AA,8), with black stripes; nao hoopai; 3.77.3 ft. 

2534. Kapa pa’u, oiled, five sheets, mole, halua different beaters; 3.217 ft. 

2535. Kapa pa’u, oiled, each of the five sheets of a different beat; 1 pepehi halua, 
2 pepehi pupu, 3 halua pupu, 4 pepehi, 5 launiu; 315.6 ft. 

2536. Kapa pa’u, oiled, six sheets; 1 halua pupu; 2, 3 and 6 pepehi, 4 hoopai halua, 
Alehobsbusla ec’ <seeis ats 

2537. Kapa pa’u, oiled, three sheets; 1 halua pupu, 2 mole halua; 3 has three distinct 
Dedtss 36220 tk. 

2538. Kapa pa’u, oiled, single sheet; nao halua pupu; 3X12 ft. 

2539. Kapa pa’u, oiled; another sheet of the same size and beat; perhaps of the same 
pau. 

2540. Kapa pa’u, oiled, single sheet halua pupu; 3X12.5 ft. 

2541. Kapa pa’u, oiled, one sheet nao mole; 3.5 15.5 ft. 

2542. Kapa moe, kilohana olena, halua pupu, two sheets white; 4.25 ft. J.S. E. 

2543. Kapa kukui noni (AA, 4), dyed with kukui bark and noni root; reddish on 
top and yellow beneath; the coloring matter was placed on the yellow side and 
passed throu 6.209 it. Js: E. 

2544. Kapa moe, olena kilohana nao nananahuki; 7.58.7 ft. Honomalino. J.S.E. 

25459 Mapa olena, alia wpena pupils 7 >< 9:2 ft. js. E. 

2546. Kapa moe, kilohana alaea; nao mole; 6.5xg ft. Hookena, S. Kona, Hawaii. 
Jnsues 

2547. Kapa kihei olena (faded), halua upena; 4.55 ft. J.S. E. 

2548. Kapa pa’u hula, olena, with black stripes and figures; 3.5xX9 ft. J.S. E. 

2549. Kapa kukui, brown; nao hoopai pawehe; 3.57.7 ft. Queen Emma collection. 

2604. Kapa moe, kilohana red, with palenanahu bands; nao halua pupu; two white 
sheets, one pepehe halua, the other halua pupu; 7.39 ft. Hawaiian Museum. 

2605. Kapa moe, kilohana and three sheets ouholowai striped with black in varied 
series; 1 and 4 nao puili halua, 2 koeau, 3 puili; 78.5 ft. Hawaiian Museum. 

2606. Kapa moe, two sheets very soft mao, mole; 6.2XgQ ft. 

2607. Kapa moe, white sheet taken from a kuina in the Deverill collection; old; nao 
haliia papt O47 <9:5 tt. Kawai, Jes: 

2608. Kapa moe, one sheet yellowish white, halua pupu; 7X9 ft. Kauai. 

2609. Kapa moe, kilohana yellow, halua niho mano pupu; two white sheets mole 
hala moc the ao. By. 

2610. Kapa kea, halua upena; 5.27.7 ft. From Punaluu, Kau, Hawaii. J. S. E. 

2611. Kapa kea, mole pupu (puka); 7.79.7 ft. Ninole, Kau, Hawaii, 1886. J.S. E. 

2612. Kapa kea, halua pupu; 6.39 ft. Made previous to 1855. J.S. E. 

2613. Kapa kea, halua pawehe; 6.38.5 ft. Dates from early ’60s. J. S. E. 

2614. Kapa kea, niho liilii; 810.5 ft. Punaluu, Kau, Hawaii. J.S. E. 

2015. Kapa kea, like the preceding; 7.7 X09.5 ft. J.S. HE. 


260 Ka Hana Kapa. 


2616. Kapa kea, mole pupu; 7.7X10.5 ft. Made at Ninole, Kau, Hawaii. J. 5S. E. 

26017. Kapa kea, niho mano; 7.7 roit. J... BH. 

2618. Kapa kea, halua upena; 4.67.7 ft. Honuapo. J. S. E. 

2619. Kapa kea, niho mano; 6X8.2 ft. J.S. E. 

2620. Kapa kea, halua pawehe; 6X8.2 ft. Honuapo, Kau, Hawaii. J.S. E. 

2621. Kapa kea, halua pupu; 56.5 ft. Kauai. J. S. 

2622. Kapa kea, halua niho mano; 7X8.6 ft. Honuapo, Kau, Hawaii. J.S. E. 

2623. Kapa kea; 7.28.5 ft. From Honuapo. J. 5S. E. 

2624. Kapa kea, nananahuki; 78.5 ft. Made in early ’60s at Hookena, Kau, Hawaii. 

Ji Senex 

2625. Kapa kea, niho liilii, thick; 410.3 ft. Punaluu, Kau, Hawaii. J. S. E. 

2626. Kapa kea, halua upena; 8.5X9.3 ft. Punaluu. J. S. E. 

2627. Kapa kea, niho liilii, very soft; 5x8 ft. 

2628. Kapa kea, mole pupu, stiff; 7.5 X10.5 ft. 

2629. Kapa kea, mole pupu; 7.3 X10 ft. 

2630. Kapa kea, perhaps once yellow; niho liilii; 7.39.3 ft. 

2631. Kapa moe, three sheets white; 1 and 3 halua pupu, 2 niho liilii; 5.77.7 ft. 

Hawaii, 1868. J. S. E. 

32. Kapa moe, white, halua puili; 6X8 ft. 

33. Kapa moe, white, very old, niho lilii; 6.5 x11 ft. Hawaiian Museum. 

34. Kapa moe, mahuna olena (faded), halua pupu; 4.7Xg ft. Hawaiian Museum. 

2635. Kapa moe, white, old and worn out; 8X8 ft. Hawaiian Museum. 

36. Kapa pa’u, oiled, old, mole halua; 3.5 X10 ft. 

37. Kapa moe, kilohana purple, mole pupu; yellow-brown under sheet, pawehe; 
very oldv.5 <7 ft: 

2638. Kapa pa’u hula, three sheets, 1 paikukui (AA, 6), 2, 3 olena, hoopai and 
pepehi; 4.27 ft. Hawaiian Museum. 

2639. Kapa pa’u hula, olena nanahu kakau; well stamped in black; 38.7 ft. 

2040. Kapa malo, alaea, with narrow transverse stripes of black; much faded; .8X 6.6 ft. 
Kmerson says, “dyed with alaea seeds.” I know of no such seeds, and alaea is 
ochre. ‘The fading, however, would indicate vegetable dye. Hookena, Hawaii. 
J. Su E. 

2041. Kapa malo, alaea; longitudinal border and transverse >>> stripes in black; 
OX7 ft. Th SEs 

2042. Kapa malo, alaea, much faded, thick, halua upena; .86.3 ft. Hookena. J.S.E. 

2643. Kapa malo, puolena, niho mano; .7X7.7 ft. Made February, 1887. J. S. E. 

2644. Kapa malo, olena; nao nananahuki; .8xg.6 ft. Made at same date as last. 
jeceee . 

2645. Kapa malo, keokeo, halua pupu; .8X5.5 ft. Made at Hana, Maui. J. 5S. E. 

2646. Kapa poaaha, white, mole; .311 ft. J.S. E. 

2647. Kapa aha, “awapuhi and citron,” mole pupu; 5.58.5 ft. J. 5S. E. 

2648. Kapa pa’u, mamaki; three sheets old and soft, sewed together with foreign 
thread; 1, 2 nao kapuai koloa, 3 hoopai; 2.75.2 ft. 


A Catalogue of the Kapa Studted. 261 


2649. Kapa mao ( AA, g), halua pupu, soft, used as “medicine”; 5.29 ft. Hawaiian 
Museum. 

2650. Kapa pa’u, two sheets mao, mole, faded; 3.712 ft. Queen Emma collection. 

2651. Kapa pa’u, light brown, puahala, faded; 3X14 ft. 

2652. Kapa pa’u, five sheets, soft; 1 light brown, halua pupu, 2 ditto hoopai; 3 darker 
brown, pawehe; 4 light brown halua niho mano; 5 ditto, halua upena pupu; 
3.57.7 ft. Sewed with kapa cord. Queen Emma collection. 

2653. Kapa pa’u, four sheets, soft; 1 lighter shade of BB, 12; 2-4 lighter still; sewed 
with kapa cord of the darker color; 3.27.5 ft. 

2654. Kapa pa’u, five sheets, originally yellow, coarse; kilohana has a border and 
double rhombs of zigzags in black, pepehi halua; 2 pepehi; 3 and 4 pepehi halua; 
5 pepehi halua pupu; 3X10.5 ft. 

2655. Kapa moe, three sheets very soft; 1 and 3 brown; 2 paiula with black bands; 
aot pepeht 2 puahala, 2) halua pup: 67.2 ft. 

2656. Kapa moe, four sheets awapuhi, halua upena, soft; 5.56.5 ft. 

2657. Kapa pa’u, two sheets, light brown, soft, with indefinite beat; 4Xg9.5 ft. Queen 
Emma collection. 

2658. Kapa pa’u, three sheets lighter shade of AA, 7, soft; 1 and 3 halua pupu; 
PCO pai) 3.2) < 13) Tk. 

2659. Kapa mahunalii used in sorcery; oiled, old and brittle; nao konane; fragment. 
Hrome@ahnm J. S: E. 

2660. Kapa moe, kilohana paiula, with indefinite llac markings; halua pupu; 
Tels <(Gusy sien ; 

2661. Kapa mamaki, hoopai halua; 6.5 xg ft. Kawaihae uka, Kohala, Hawaii. J.S.E. 

2662. Kapa pa’u, brown, hoopai halua; 313.5 ft. 

2663. Kapa pa’u, mao (ginger-colored), mole, soft; 4.57 ft. 

2664. Kapa mahuna, oiled, halua pawehe; 48.5 ft. J.S. E. 

2665. Kapa mahuna, oiled, hoopai halua; 34.2 ft. Honaunau, S. Kona, Hawaii. 
JeSak: 

2666. Kapa, old, leathery, red-brown (AA, 12); under side light brown, reticulated 
with black; nao halua pawehe; 22.5 ft. From Kanupa burial cave, Hawaii. 
JES rE. 

2667. Kapa, gray (BB, 4); nao mole pupu; 2X6 ft. From Kanupa cave. J.S. E. 

2668. Kapa, red, mole; 2.56 ft. From Kanupa cave. J. 5S. E. 

2669. Kapa pa’u, oiled, single sheet halua pupu; 3.2 X12 ft. 

2670. Kapa, oiled, halua pupu; 3.7X5 ft. 

2671. Kapa, oiled, halua pupu; 1.3 X3.5 ft. 

2672. Kapa, oiled, mole; 3.34.6 ft. 

2673. Kapa, oiled, mole; 1.5 X3.7 ft. 

2674. Kapa, oiled, halua pupu; 34 ft. 

2675. Kapa, oiled, mole, red tinge, rotten; 3.23.3 ft. 

2676. Kapa, oiled, mole; 1.72.5 ft. 


262 Ka Hana Kapa. 


2677. Kapa pa’u mahuna paikukui palapalaia =a border richly stamped with black 
and alaea painted; halua pupu; 4X10 ft. Hawaiian Museum. 

2678. Kapa pa’u hula puakai, ruled in pairs, mole; 2.58 ft. 

2679. Kapa malo, coarse beat with evident jointures; .6xX9 ft. J.S. E. 

2680. Kapa mamaki, gray, with narrow darker stripes; nao pawehe; 2X6 ft. From 
Kanupa cave. J.S. E. 

2681. Kapa, oiled, and striped with black, hoopai; 4.34.5 ft. From burial cave. 

2682. Kapa pa’u hula, kilohana with two longitudinal bands, each of eight zigzags in 
black, and as many of orange; a white sheet; a red sheet and two white; all of 
indefinite beat; much stained; 1.72.5 ft. J.S. E. 

2683. Kapa, gray on one side, red on the other; nao pawehe; 4.77 ft. From burial 
cave on Hawaii. J.S. E. 

2684. Kapa mole, oiled; placed by Huki on the idol (B. P. B. M. 132) as an inner 
cover, when it was sent to Medway, Conn.; fragment. J. S. E. 

2685. Kapa mamaki mahuna, used by the kahuna in treatment of disease; it was 
thrown over the shoulders of the patient while the kahuna prayed; nao halua 
pupu; fragment. Molokai. J.S. E. 

2686. Kapa a’e (a term applied to a very soft kapa; not common), white, made of 
waoke malolo; a fragment. J. 5S. E. 

2687. Kapa malo olena, yellow on one side, reddish on the other; nananahuki, thick; 
SX pit. 1 hor a boy. J.\os i. 

2688. Kapa pa’u hula puakai, mole; a stripe a quarter inch wide alternating with two 
narrower ones; fragment. Hana, Maui. J. 5S. E. 

2689. Kapa mahuna, halua pawehe; 1.73.5 ft. Kipahulu, Maui. J. S. E. 

2690. Kapa pa’u hula, fragment, fine yellow, with black stamps; thin, soft, halua pupu. 
Given to the Prince of Hawaii (son of Kamehameha IV) in hookupu on Kauai. 
Jeseyee. 

2691. Kapa mamaki; nao hoopai; 1X2.7 ft. Bought at Queen Emma’s auction. 
Je ack. 

2692. Kapa pa’u, fragment of kilohana, yellow, stamped with red and black. From 
collection of Kaikioewa. J. 5S. E. 

2693. Kapa nanahu, a piece of kapa saturated with charcoal black used to impart its 
color to other kapa. J.S. E. 

2694. Kapa puakai, colored with olena, then to be dyed with noni; fragment. 
Pelekunu, Molokai. J.S. E. 

2695. Kapa pa’u hula, formerly belonging to Queen Kalama (wife of Kamehameha 
Li). Be 

2696. Kapa puakai, fragment; nao mole. Hana, Maui. J.S. E. 

2697. Kapa ouholowai, with one broad, eight narrow stripes, halua puili; fragment. 
Used only by chiefs. From Queen Kalama. J. 5S. E. 

2698. Kapa mahunalii, oiled, halua pawehe. From the witch Kamaipuupaa, the 
kahuna wahine of Kamehameha V. J. 5S. E. 


A Catalogue of the Kapa Studied: 263 


2699. Kapa kuikui; a most beautiful form of lace kapa; black and stiffened with 
pia(?), then bruised, not punctured, so as to leave almost transparent oval 
depressions in the fibre. ‘The collector claims that this was beaten with small 
stones; but, if so, it was a wonderful beating! From Koolau, Oahu. J.S. E. 

2750. Kapa fragment from a burial cave on Hawaii; dark brown with the reverse 
buff; nao pepehi halua. J. 5S. E. 

2751. Kapa pa’u hula; consists of two sheets pasted together, one striped vertically 
with alaea and olena; mole. Fragment from Kanupa cave, Hawaii. J. S. E. 
2752. Kapa malo, puakai, oiled, red, mole; fragment. Used only by chiefs when 

bathing. Hana, Maui. J. S. E. 

2753. Kapa kahuna, oiled, halua pawehe, fragment. J. S. E. 

2754. Kapa fragment, oiled, halua pupu; 1.6X2 ft. Used by kahunas. J.S. E. 

2755. Kapa kahuna, oiled, mole; 1.8X3.2 ft. Molokai. J. S. E. 

2756. Kapa pa’u hula paikukui, marked by a cord; nao halua pupu; 1.51.3 ft. 
Molokai. J. S. E. 

2757. Kapa mamaki (AA, 11); nao hoopai; fragment. Kahuna uses. Kamoiliili, 
Caister, la Sy 38, 

2758. Kapa pa’u hula, oiled, mole halua, stamped in black. A fragment from 
Kamehameha IV. J.S. E. 

2759. Kapa pa’u hula, pink with black stamps, hoopai halua. A fragment from 
Kalalan, Kawai J. S$: E: 

2760. Kapa paiula, halua upena. A fragment from Kaikioewa. J. 5S. E. 

2761. Kapa pa’u paikukui; 1.8X2.8 ft. Used in childbirth by kahuna. J. 5S. E. 

2762. Kapa mahuna paikukui, oiled, mole. Used to influence evil spirits. From 
Queen Kalama. J.S. E. 

2763. Kapa mahuna, oiled; nao peculiar; 1.5x2.6ft. Used by the kahuna. Lahaina, 
Mani 8S: 

2764. Kapa moe kilohana; nao puahala squares lined in red and gray; design same 
as 2441. Kamalo, Molokai. J. S. E. 

2765. Kapa fragment, oiled, halua pupu. Hana, Maui. J.S. E. 

2766. Kapa mahuna from a kihei, oiled, halua pupu. Laie, Oahu. J. 5S. E. 

2767. Kapa mahuna, oiled, hoopai; part of kihei. From Waimea, Kauai. J. S. E. 

2768. Kapa mahuna, halua pupu. Used by a kahuna lapaau at Waimea, Kauai. 

aos. 

Des Kapa kihei mahuna, halua pawehe, thin, almost translucent. From Kaikioewa, 
a high chiefess of Waimea, Kauai. J. 5S. E. 

2770. Kapa pa’u hula, olena, with black stamps; a fragment. Made at Waimea, Oahu. 

ash JS 

ey A set of samples in a kuina all represented in larger specimens. Hawaiian 
Museum. 

2772. Kapa ribbons; a glazed surface of white hoopai, stamped with dark brown 
figures. Hawaiian Museum. 

2773. Kapa mamaki, hoopai halua; softened with use; much torn and mended fragment. 


264 Ka Hana Kapa. 


2774. Kapa eleele, in fragments, as is not uncommon with kapa of this color; the dye 
seems to rot the fibres, and I have never seen any of considerable age that was 
whole. 

2775. Kapa malo kea, mole, a white fragment. 

2776. Kapa moe, awapuhi and nanahu; black and yellow triangles and stripes; halua 
puahala; 5.5x8 ft. South Kona, Hawaii. J.S. E. 

2777. Kapa pa’u, hoopai pawehe; two pieces sewed together with kapa cord; three 
painted longitudinal bands, black and red; between them, various zigzag patterns 
(Pl. V, 1); 2.7X11.5 ft. Hawaiian Museum. 

2778. Kapa malo eleuli; olena soaked in mud; with darker \/-shaped lines; .7x6 ft. 
Hookena, Hawaii. J.S. E. 

2779. “Ke kapa keia a Lauhuki i kuku ai nona ka olelo o ke kuku a kou Koeke a 
Lonokaenui.” A fragment from Queen Emma’s collection thus labelled; not 
otherwise remarkable. 

3201. Kapa aeokahaloa; color, BB, 8; halua pupu; 46.7 ft. Given by Liliuokalani. 

3202. Kapa moe, kilohana nau; 2 olena, 3 mao, 4 and 5 olena; nao hoopai halua; 

' 7.5X9.7 ft. Ljiliuokalani. 

3203. Kapa moe, kilohana palahea or marked with splotches of red-brown all over; 
four white sheets; nao of 2 hoopai halua, all the rest hoopai pawehe; 7.5 x 1ro ft. 
Liliuokalani. 

3204. Kapa moe, kilohana nau (AA, 6); four white sheets, all halua pupu; stiff; 
6.69 ft. Liliuokalani. 

3205. Kapa moe, kilohana paiula, four white sheets, all halua pupu, but with different 
beaters; 7.59.3 ft. Liliuokalani. 

3206. Kapa moe, four white sheets halua pupu, papery texture; no kilohana; 
6.6X9.2 ft. Liliuokalani. 

3207. Kapa moe, kilohana light yellow, with stripes, and stamped figures in red and 
gray; three yellow sheets; 68.6 ft. 

3208. Kapa poncho, yellow, decorated with straw flowers, etc.; 3.64.6 ft. Modern 
make. 

3209. Kapa ribbons; nine specimens from Mrs. J. M. Whitney. 

3210. Kapa eleele; nao halua pawehe; 3.5xXg ft. Hilo, Hawaii. 

4023. Kapa malo puakai, thin, mole; 1X5.5 ft. 

5861. Kapa olena; nao halua pupu; 2.6Xg.2 ft. Mrs. Grace Chapman. 

5862. Kapa aeokahaloa (BB, 4); nao halua pupu; 3.55 ft. Mrs. Grace Chapman. 

6792. Kapa malo, olena, faded; one half covered with stamped crosses; sewed in middle; 
.7X8 ft. Given by Gorham D. Gilman. 

6812. Kapa keokeo, used as covering for the royal feather cloaks; 1.28.7 ft. 
Hawaiian Government. 

6813. Kapa keokeo, halua pupu, covering for feather cloaks; 7x9 ft. Hawaiian 
Government. 

6814. Kapa olena, halua pupu, covering for feather cloaks; 6g ft. Hawaiian 
Government. 


A Catalogue of the Kapa Studied. 265 


6815. Kapa keokeo, halua pupu, covering for feather cloaks; 7X9 ft. Hawaiian 
Government. 

6879. Kapa moe kilohana, hoopai, gray, striped in red and black; fragments of the white 
kapa cord that bound it to the kuina remain; 4.57.5 ft. Gorham D. Gilman. 

6880. Kapa mole, figured with red and black stamps (Pl. Z—frontispiece); old and 
much torn; 3.27.5 ft. Gorham D. Gilman. 

6881. Kapa moe, hoopai halua; brown sheet (AA,Q), but faded; 6.28.7 ft. Gorham 
D. Gilman. | 

6882. Kapa keokeo, hoopai pawehe, much torn, very rotten; 89.5 ft. Gorham D. Gilman. 

6883. Kapa keokeo, hoopai, rather discolored; 67.5 ft. Gorham D. Gilman. 

6884. Kapa pa’u olena; this portion has faded and been washed, so as to render the 
nao indefinite; 2.8X8.7 ft. Gorham D. Gilman. 

6885. Kapa poncho, thin, red, hoopai halua; rosettes in black and red; two rows of 
cut border; 3.53.2 ft. Gorham D. Gilman. 

6886. Kapa poaaha. Given by Gorham D. Gilman. 

6887. Kapa poaaha. Given by Gorham D. Gilman. 

6940. Kapa kalukalu; 67.5 ft. 

7720. Kapa dress, oiled, pepehi; lined with cotton cloth and trimmed with yellow kapa, 
halua pupu. 

7721. Kapa pa’u hula, hoopai with eight bands of darker color alternating with four 
and five broken lines; 3.7X12 ft. 

7722. Kapa olena, striped with dark red by snapping cord; hoopai halua; 3.59.2 ft. 

7770. Kapa moe, kilohana surface mottled with alaea and nanahu; nao indefinite, 
Several bedters sox ties it | Aba ©. ML) Purchased: 

7771. Kapa moe, kilohana olena stamped well with nanahu and alaea; 7.5x10.5 ft. 
Made in 1834. Purchased from A. B. C. F. M. 

7772. Kapa malo, coarse, heavy, mole; olena striped lengthwise with alaea; .6Xg ft. 
Aes: Cur 

7773. Kapa belt of white and very elastic fabric. A. B.C. F. M.(?) 

7774. Kapa malo mole, yellow, with red lines; half of the specimen fine lines, the 
other half with lines twice the breadth and at right angle to the former. A. B. 
C.F. M. Purchase. 

7775. Kapa of coarse beat striped red with zigzags (P1.P,1). A.B.C.F.M. Purchase. 

7776. Kapa mamaki, light brown, hoopai, striped lengthwise with bands of darker 
brown lines; 2.63.5 ft. Purchased from A. B. C. F. M. 

7777. Kapa malo, printed in stripes and black figures (Pl. 35, 2); 1.2X9.5 ft. A. B. 
C.F.M. Purchase. 

7778. Kapa pa’u olena, nao mole; 2.6X14.7 ft. A.B.C.F.M. Purchase. 

7779. Kapa holoku, greenish brown, stamped or ruled with black and red. Dates 1839. 
Aabs C.. Hs Mo Purehase: 

7780. Kapa molo keokeo pawehe, glazed and stamped with faded yellow and brown; 
one end with circular decoration; 1.2x7 ft. A.B.C.F.M. Purchase. 


Memoirs B. P. B. Museum, VOL. III.—174. 


266 Ka Hana Kapa. 


7781. Kapa eleele kupapau (pall); nao hoopai, very rotten; 6.69.8 ft. Brought 
from islands 1836. A. B.C. F.M. Purchase. 

7782. Kapa pa’u, kilohana mole, brown, closely covered with red and black rulings 
and cross rulings; three yellow sheets, 1 and 2 mole pupu, 3 pepehi; 2.6X 12.5 ft. 
Ae BF, MM: Purchase: 

7783. Kapa dress for child (Pl. C, 3).: A. B.C P.M... Purchase: 

7784. Kapa olena, washed with nau, and with transverse reddish lines; sewed together 
in middle; a fragment; 1.52.8 ft. A.B.C.F.M. Purchase. 

7785. Kapa pa’u, kilohana olena, mole, beautifully stamped all over with brilliant 
black and red; 2 hoopai halua, stamped in black; 3 hoopai; 4 and 5 hoopai; all 
oiled= 27 x 10.7 th. A.B Cyr. M, Purchase, 

7786. Kapa pa’u, olena, faded, pepehi halua; nananahuki; 2.5xX11 ft. A.B.C.F.M. 
Purchase. 

7787. Kapa kihei keokeo, stamped with red and black, mole; much worn, but some of 
stamps very effective; 5.5xX6.6 ft. A.B.C.F.M. Purchase. 

7788. Kapa gown, figured in green, brown and brick-red; thin, white base; orna- 
mentally made in foreign style. A. B.C. F.M. Purchase. 

7789. Kapa kalukalu, red mole; 4.56:2 ft. A. B. C.F. M.. Purchase. 

7791. Kapa holoku, made of white hoopai kapa, very dirty and figured roughly with 
alaea splotches. Given to A. B.C. F. M. by James Jackson Jarves, and purchased 
from the Board. 

8037. Kapa, red-brown, glazed, hoopai pawehe, leathery and heavy; pattern as Pl. H, 1; 
6.58.2 ft. Made during the reign of Kamehameha III, who died in 1854. 

8812. Kapa hoopai pawehe, red; 2.9Xg ft. From Kona, Hawaii. 

8813. Kapa hoopai, pawehe, light gray; 3X10 ft. From Kona, Hawaii. 

8814. Kapa keokeo, curiously stamped in black (Pl. 42, 2); a fragment; 6.23.4 ft. 
Kona, Hawaii. 

8816. Kapa pau, originally pink, but much faded, halua upena, kuilewa in black; 
2.66.3 ft. 

8817. Kapa keokeo, pawehe; 4.26.6 ft. 

8825. Kapa pa’u (AA, 5); first kilohana mole, four longitudinal stripes, interrupted 
black bands, the intervals with stamped arrow-heads and zigzags, sheet halua 
upena; second kilohana, mole pupu, three bands interrupted, red and black lines, 
intervals, with double and treble red and black stamped diamonds, very soft and 
beautiful; 4 mole, 5 halua pawehe; 4.87.1 ft. Bishop collection. 

8826. Kapa pa’u, kilohana gray, mole, most exquisitely decorated with seven bands, five 
inches wide, of black and red ruled lines, each band different, at angle of 45°; four yel- 
low sheets, two in front of kilohana mole, the others pepehi halua; 2.78 ft. In deco- 
ration, the finest pa’u in the collection. As it was stored in a trunk and folded with 
the kilohana inside, it escaped notice until too late to include in the plates. 

8827. Kapa pa’u (AA, 5), kilohana mole, ruled with two bands longitudinally, each 
formed of 4-6 bands of ruled black and red lines, the bands “faulted” every 3.5 ft.; 
four sheets same color, 1 and 4 mole, 2 and 3 pepehi; 2.514 ft.; old and creased. 


A Catalogue of the Kapa Studved. 267 


8828. Kapa pa’u, with two kilohana face to face, mole, each with four plain ginger- 
colored sheets fastened together by kapa cord; first kilohana greenish brown, 
with black lines closely ruled in patterns; second kilohana yellowish, with broad 
longitudinal lines over finer ones at angle of 45°; 2.312.2 ft. Bishop collection. 

8829. Kapa moe, kilohana paiula, with four white sheets, very soft and well made; 
nao of all hoopai pawehe; 7.8X9.7 ft. Bishop collection. 

8830. Kapa moe, kilohana paiula, kapuai koloa; four white sheets, almost kalukalu, 
the third halua pupu, others like kilohana; 9X12 ft. Bishop collection. 

8831. Kapa moe; three sheets fine and soft, slightly torn; nao indeterminate; 
8.712 ft. Bishop collection. 

8832. Kapa moe, three sheets, white, soft, hoopai pawehe; 7.5xg ft. Bishop collection. 

8833. Kapa moe, kilohana olena, with fifteen bands lengthwise, stamped and ruled in red 
and black; black stamps in intervals; stiff and papery; nao halua pupu; 6.7 <8 ft. 

8834. Kapa fragment, white, with punctured black pasted over it, the punctures large 
and small arranged in zigzags (Pl. 36,2); 3x5 ft. Given by Gorham D. Gilman. 

8835. Kapa moe, four white sheets, 1 pepehi halua, the rest hoopai; 7 Xo ft. 

8836. Kapa, originally yellow, thin, pepehi, decorated with 29 longitudinal, undulat- 
ing lines of red, rather irregular, with dotted stamps following the lines; a broad 
line of red with black stamps borders the whole; 7.8 x8 ft. 

8837. Kapa olena, halua upena, soft; 46 ft. 

_ 8840. Kapa shroud; two sheets united by a peculiar suture described on p. 248 in list 
of the author’s collection; 67.6 ft. Probably at least 150 years old. 

8841. Kapa paikukui, pepehi halua, used to wrap bones in burial cave on Hawaii; 
6272 it. 

8842. Kapa malo of four sheets sewed together by running stitch; two sheets were 
pasted together and decorated with transverse black bands on red with narrow 
white with stamps of three red balls alternating witha single ball. Onthe whole 
the decoration tells of great antiquity as does the condition of the malo, and it 
may reasonably be attributed to some important moi whose hidden bones it ac- 
companied; 2X12 ft. From a burial cave on Hawaii. 

8843. Kapa keokeo hoopai; a fragment from the same cave as the three previous 
numbers. 

8844. Kapa fragment, ragged; marked with transverse bands of three black lines; 
also a reticular arrangement of these lines and what seems to be a tassel at the end. 
Burial cave as above. 

8845. Kapa; a heavy rudely beaten fragment from burial cave, black on one side, 
red on the other; maceration gave a claret-red color. Purchased like the previous 
cave specimens. 

9296. Kapa moe, kilohana paiula much faded; nao mole pupu; sheets 2 and 3 gray, 
halua pupu; 4 and 5 mole pupu; 5.78.5 ft. Deverill collection. 

9298. Kapa, gray, thin, darker than BB,8; nao puili; 6g ft. Deverill collection. 

9299. Kapa moe keokeo, halua pupu; 7Xg ft. Deverill collection. 


268 Ka Hana Kapa. 


9300. Kapa keokeo, with red and blue wide bands; mole pupu (blue foreign;) 
5-5 6.2 ft. Deverill collection. 

9301. Kapa halua pupu, gray (BB, 9); 4.56.6 ft. Deverill collection. 

9302. Kapa kalukalu keokeo; 4.26 ft. Used for swaddling cloth. Deverill col- 
lection. 

9303. Kapa pa,u, olena, four sheets, a fragment; kilohana with black and red stamps, 
halua pupu; 2 yellow, halua pawehe; 3 lighter color; 4 yellow pepehi. Deverill 
collection. 

9304. Kapa malo, yellow, with four rows of black stamped designs; halua pawehe, 
thin and faded; border of red and black stamps; 1.57+ ft. (end torn off). 
Deverill collection. 

9305. Kapa pa’u hula, olena, with two broad bands and one narrow one of red and 
black stamps; red stamps in one of the interspaces; halua pawehe; 3X8 ft. 
Deverill collection. 

9306. Kapa pa’u olena hula, like the previous number, but with stamped figures in 
two of the interspaces; 37.7 ft. Deverill collection. 

9307. Kapa pa’u olena, pepehi halua; stamped in six rows, alternately red and black; 
2, 3, 5, 6 arranged as triangles; 3.69.8 ft. Deverill collection. 

9656. Kapa ohelohelo (noni?), stamped with strings of black triangles, halua pupu; 
4.26.7 ft. Given by Mrs. W. R. Castle. 

9657. Kapa moe, kilohana white, with red and gray bands, mole pupu; 6.58.5 ft. 
Mrs. W. R. Castle. 

10,329. Kapa moe, kilohana paiula + five yellowish white sheets; nao indeterminate; 

7.8x 10.8 ft. Kaiulani collection. 

10,330. Kapa moe, kilohana paiula hoopai halua-+ three light buff sheets, hoopai 

pawehe; 7.49.7 ft. Kaiulani collection. 

10,331. Kapa moe, kilohana paiula+four white mole pupu sheets; 7.510 ft. Kaiulani 

collection. 

10,332. Kapa moe, kilohana paiula, painted with various inartistic designs in light 

blue; four white sheets, all halua pupu; 7.3X10.4 ft. Kaiulani collection. 

10,333. Kapa moe, kilohana white, with red and gray blotches beaten in in five bands; 

four white sheets, thick and stiff; nao indeterminate; 79.5 ft. Kaiulani col- 
lection. 

10,334. Kapa moe, kilohana white, with red and blue bands; thin and softer than 

the four under white sheets; all halua pupu; 7X10 ft. Kaiulani collection. 

10,335. Kapa moe, kilohana thin, white, with longitudinal bands of red and gray; four 

stiff white sheets, all halua pupu; 7X11 ft. Kaiulani collection. 

10,336. Kapa moe, kilohana buff, with paiula and gray beaten in; four sheets buff; 

old and much worn; 6.38.7 ft. Kaiulani collection. 

10,337. Kapa moe, kilohana red on gray ground, four inner sheets of various shades 

of buff; halua pupu; 6.5+8.5+ ft. Kaiulani collection. 

10,338. Kapa moe, two sheets hoopai, stiff and unused; one dyed with nau (AA, 6), 

the other bright yellow; 78+ ft. Kaiulani collection. 


A Catalogue of the Kapa Studved. 269 


10,339. Kapa moe, kilohana white, with coarse stamped border in blue and red modern 
pigments; nao halua pupu, except the third sheet. which is niho mano; 
7.510 ft. Kaiulani collection. 

10,340. Kapa moe (no kilohana); four old white sheets, much used; 5.5+ 8 ft. 
Kaiulani collection. 

10,341. Kapa moe mamaki; three sheets striped with black lines; color dark gray; 
nao hoopai; 7.2X10.5+ ft. Kaiulani collection. 

10,342. Kapa olena, ruled lengthwise with three bands of 4, 9, 6 black lines; mole 
halua; 33.5 ft. Kaiulani collection. 

10,343. Kapa olena, apparently cut from the last specimen; 2.73.8 ft. Kaiulani 
collection. 

10,345. Kapa hoopai halua, thin, with black stamps; fragment; 1.53.5 ft. (Pl. ZZ, 
p- 212.) Kaiulani collection. 


It has not been thought needful to enumerate all the specimens of bark, partly 
made kapa (poaaha) and the fragments from the burial caves, with the kapa wrappers 
around the bones. ‘The latter are represented by catalogued specimens. Enough has 
been given to show that material for study has not been wanting, however insufh- 
ciently it may have been utilized, rather from want of knowledge than from chariness 
of labor expended on this ancient and now nearly lost art. 

We may turn to the specimens of bark-cloth from other island groups of the 
Pacific Ocean, but as most of these are of comparatively modern manufacture, those 


noted in the Cook collections are more worthy of attention. 


SAMOAN SIAPO. 


2059. A jacket of thin, white, siapo, upete printed and ornamented with black trim- 
ming. Source unknown. 

2179. Siapo tiputa, worn by young girls; thin, white, with black and brown lines 
aud painted stripes; 1.74.2 ft. J. S. E. 

2200. Siapo fusi or belt, white; made by the wife of Unutoa, a chief of Pagopago. 

2205. Siapo, light colored, divided into rectangles by thick double lines of dark brown 
varnish, and these filled with triangles, yellow dashes and rude black figures; 
6x7 ft. Craig collection. 

2206. Siapo, painted all over with squares and other geometrical figures; varnished; 
part of brown fringe plain, one side fancy cut; 47 ft. Tutuila,Samoa. J.S.E. 

2207. Siapo, soit, upete figured; 56.7 ft.. J. S. E. 

2208. Siapo, soft, upete stamped, white at each end; 8X11 ft. J.S. E. 

2209. Siapo, soft, upete stamped, ends white figured with indefinite lines; 79.5 ft. 
he eB. 

2210. Siapo, soft, upete stamped, figured; 915.7 ft. J. 5S. E. 


270 Ka Hana Kapa. 


2211. Siapo, soft, figured, divided by wide red lines into various sized patches, often 
with a red circle two inches in diameter; 7X11 ft. J.S. E. 

2212. Siapo, soft, upete stamped with dark varnish lines and circles; toothed border 
on three sides, slashed with rhomboidal or arrow-head openings; 78.5 ft. 
Putuila: ~ J. Sk: 

2213. Siapo, heavy, divided into squares filled with various devices and varnished; 
TE.5 oc E4 it. 

2214. Siapo, heavy, with varnished black figures on white (Pl. 17, 2); 9.5X12 ft. 

2215. Siapo, heavy, lines parallel with broader transverse lines in dark varnish; 
Poros. J. SE. 

2216. Siapo, heavy, varnished figures; 8.5xX9g ft. J.S. E. 

2217. Siapo, heavy, painted all over with geometrical figures and zigzags; dentils 
lined and all varnished; 8X10 ft. J.S. E. 

2218. Siapo, heavy, varnished all over, dark and lighter bands hardly visible; 
5.78.5 ft. Given to Mrs. Bishop by Com. (later Admiral) L. Kempff. 

2219. Siapo, varnished all over, divided into large triangles by light bands with 
curved figures; under side deep red, with parallel linings; 6.5x9 ft. J.S. E. 
2220. Siapo, surface painted in a dark red tone; triangular cut border on three sides, 

of a dark brown varnish; 7X9 ft. J. 5S. E. 

2221. Siapo, heavy, checkers and irregular dark brown figures; 5.78 ft. J.S. E. 

2222. Siapo, heavy, fringed on three sides, triangular pattern in dark brown; 
Gdee Pam thke! | faa is 

2223. Siapo, heavy, upete figures on white, and various other figures, some in yellow, 
the dentils of the border half yellow and half dark brown; 7.58 ft. J.S. E. 

2224. Siapo, heavy, two-inch circles with seven or eight radiating lines; 5.5 X9.5 ft. 
2S. 

2225. Siapo, figured in yellow and black on white border of triangles and leaves; uncut; 


6 XO tt. of. 


2226. Siapo, dark, with lighter triangular bands; 5.78.2 ft. J.S. E. 

2227. Siapo, zigzag in blue (foreign), red and black, also ruled figures; 6X8 ft. J.S.E. 
2228. Siapo, white, with black painted figures, some ciliate; 5x7 ft. J.S. E. 

2229. Siapo, heavy, painted red-brown, ciliated bands arranged in various ways, 


straight and curved; fringe yellow; 55.5 ft. J.S. E. 

2230. Siapo screen or double curtain with suspending cords of braided hau; 6.2 X11 ft. 
Used as a sleeping screen. From Mataafa, Tui Atua, Upolu. J.S. E. 

231. Siapo tainamu or mosquito curtain, painted; 14.515 ft. J.S. E. 

232. Siapo lavalava, white, with black figures and dots; 1.813 ft. J.S. E. 

g50. Siapo, dark, varnished; 8X8.2 ft. 

954. Siapo, white, with upete stamps in brown; 6.5 XgQ ft. 

955. Siapo, white, with red bordered sections, brown stamps, white edge on one side 
with dentils; 4x7 ft. Hawaiian Museum. 

2956. Siapo, white, with careful black rulings and painted triangles; red glazed 
beneath; 6.24 ft. 


b YN DD ND 


A Catalogue of the Kapa Studted. 271 


2957. Siapo, white, ruled and painted in black; red beneath; fringe cut; 3.5X5.3 ft. 

2958. Siapo, white, with upete stamped brown; wide white border; 5X8 ft. 

2959. Siapo, painted with brown and yellow checkers and other figures; 6.58.3 ft. 

2960. Siapo, divided into rectangles, dark ciliated crescents in alternate sections 
(Sells 27/18 Ons <ewey sate 

2961. Siapo lavalava, with thin black border; with various small figures; 212.6 ft. 

2962. Siapo, white, with brown upete stamps; 9.6X11 ft. J. D. Strong. 

2963. Siapo, white, with brown upete figures; 9 Xoq ft. 

2964. Siapo, white, with brown upete stamped figures; portion marked only with 
irregular lines; fringed; much patched in beating; 5.37.6 ft. 

2965. Siapo, brown, covered with dark red and black triangles; varnished; fringed 
on two ends; 5.6X7.3 ft. 

2968. Siapo lavalava, white, with brown figures and darker border lines and round 
spots 1.5 X10 J.SoE: 

2969. Siapo lavalava, white, with figures in black and brown; 1.6X 12.2 ft. 

2970. Siapo lavalava or pulou, white, fringed; 1.618 ft. J. 5S. E. 

2971. Siapo made into a jacket or coat, brown. 

3573- Siapo, white, with serrate border on three sides; painted black zigzags and 
lines; 4.55.2 ft. 

5846. Siapo, with solid red varnish on one side, dentils on three edges; 2.75.4 ft. 
Mrs. M. D. Hendricks. 

5847. Siapo, two sheets pasted together; main part marked in ten-inch squares; three 
sides with white fringe; 7.79.2 ft. Good workmanship. Mrs. M. D. Hendricks. 

8838. Siapo, white, with black and red rulings and painted squares in black; 35.5 ft. 
1835. Labelled “Hawaiian Mat.” Gorham D Gilman. 

8839. Siapo, white, ruled with black and red in many patterns, often with black 
squares painted in; red glazed beneath; 3.15.5 ft. 1835. Gorham D. Gilman. 

9464. Siapo, dentate at each end, stamped with squares filled with triangles, etc.; 
5-78 ft. Deverill collection. 

10,328. Siapo, upete stamped in the middle with a comparatively plain border 2.7 ft. 

wide running lengthwise on both sides; 12.531.5 ft. Kaiulani collection. 


BARK-CLOTH FROM OTHER GROUPS. 


1765. Gbola or bark-cloth for malo. From Kai, New Guinea. 

1766. Po or bark-cloth for malo. Kela, New Guinea. 

1767. Po or bark-cloth for malo. Bukaua, New Guinea. 

1768. Obo or bark-cloth for malo. Jabin, New Guinea. 

1769. Nakwin or cloak of bark-cloth (Fig. 22, p. 60). Jabin, New Guinea. 

1784. Gi or bark-cloth malo, decorated. From Poom, New Guinea. 

1785. Mal or bark-cloth malo, decorated. From Siassi, Low Ids., New Guinea. 

1996. Fan of black and white bark-cloth with a fringe of white. Fiji. Craig collection. 
2027. Masi or kapa used as a turban; thin and white. Fiji. Craig collection. 


272 Ka Hana Kapa. 


2028, Masi for turban, thin and white. Hawaiian Museum. 

2799. Kapa, thick, papery, hoopai; 7.28 ft. Marquesas Ids. 

2952. Bark-cloth; leathery, dark red, yellowish underneath; 7X9 ft. Marquesas Ids. 
Craig collection. 

6091. Kapa, white, hoopai, made from breadfruit bark; 5.5x11.6ft. Tubuai, Austral 
Ids. Seale.* 

6092. Kapa, red-brown, of breadfruit bark, hoopai. Used at childbirth. Given by 
Orsmund Walker. Rurutu, Austral Ids. Seale. 

6093. Kapa, white, stiff, hoopai; 3.56.3 ft. Given by Orsmund Walker. Rurutu, 
Austral Ids. Seale. 

6112. Kapa, white, hoopai, with a narrow border with beats at right angles to the rest; 
6.56.7 ft. Huapu, Marquesas Ids. Rev. Kauwealoha. Seale. 

6113. Kapa, white, hoopai; 5.612 ft. Nukuhiva, Marquesas Ids. 

6114. Kapa, white, stiff, hoopai. Rev. Kauwealoha, Nukuhiva, Marquesas Ids. Seale. 

6115. Kapa, white, hoopai; 822.8 ft. Nukuhiva, Marquesas Ids. Seale. 

6116. Kapa, white, stiff, hoopai; 1012.6 ft. Nukuhiva, Marquesas Ids. Seale. 

6117. Kapa, white, stiff, hoopai; 7.3>14.7 ft. Nukuhiva, Marquesas Ids. 

6118. Kapa, red-brown; 6.79 ft. Nukuhiva, Marquesas Ids. Seale. 

6167. Kapa, coarse, brown, partly made. Nukuhiva, Marquesas Ids. Seale. 

6298. Kapa hoopai, marked with kukui and toa bark; 7.28.5 ft. Rarotonga. Seale. 

6299. Kapa hoopai, dyed with turmeric and rudely painted with kukuibark; 46.7 ft. 
Given by Col. and Mrs. Gudgeon. Rarotonga. Seale. 

6300. Kapa, brown, hoopai, harsh in texture; 6.28 ft. Col. and Mrs. Gudgeon. 
Seale. 

6301. Kapa; 5.88.7 ft. From Aitutaki, Hervey Group. Seale. 

6304. Kapa, white, thick, with elaborate decoration in freehand (Pl. 17, 1); 5.87 ft. 
Once belonged to the king of Niue. Given by Mr. and Mrs. Kahn. 

6309. Kapa, white, hoopai, stiff; 5.87 ft. 

6982. Kapa, coarse, light blue with darker blue figures outlined in red (Fig. 24); 
2.65 ft. New Hebrides. 

6983. Kapa, heavy, blue; 3.25.7 ft. Bogotu, Solomon Ids. Craig. 

7986. Masi head dress or turban, white, both edges fringed; 1.833 ft. Collected 
1896, W. TB. Fait: 

7987. Masi, white, fringed on long edges; 2.520.5 ft. Collected, W. T. B. Suva, 
Fiji. 

7988. Masi, light brown, very thin, fringed on all edges; 2.25.8. Collected, W. T. B. 
Suva, Fiji. 

7989. Masi sula, white, with black and brown decoration (Pl. 11); 5.8X6.2 ft. 
Callected We PB. big: 


*Alvin Seale, then on the Museum staff, was sent to explore the southeastern Polynesian groups where the 
kapa industry had long flourished, but he found little left, and it was mainly by the generosity of foreign residents 
that he was enabled to send to the Museum the specimens enumerated. 


A Catalogue of the Kapa Studied. 273 


7990. Masi sula, black on white (Pl. 13); 1.1X9.5 ft. Collected, W. T. B., 1896. 
Suva, Fiji. 

7991. Masi sula, black stamps on white (Pl. 12); 2.618 ft. Collected, W. T. B., 
1896. From NGau, Fiji. 

8033. Bark-cloth, white; 7.59.5 ft. Marquesas Ids. By S. T. Alexander. 

8257. Bark-cloth from Malaita, Solomon Ids. Seale. 

8258. Bark-cloth; 2.55.3 ft. From Solomon Ids. Seale. 

8264. Malo of coarse white fabric 2.5 ft. wide at one end, 1.75 at the other, and 7 ft. 
long. Figured in blue as shown in Pl. 30. Seale. 

8267. Malo of blue, figured all over with animals and thunderbolts; 2.75 ft. Seale. 

8268. Kapa, with breadfruit varnish on the face; 4.79.2 ft. From Mangaia, 
Hervey, Ids. 

8269. Kapa, rough, hoopai, breadfruit bark-cloth; light brown (BB, 12), stiff texture. 
Used on bridal day, according to the collector; 5.416.2 ft. Rarotonga. Seale. 

8270. Kapa from Rarotonga closely resembling Samoan; 7.3Xg.2 ft. Seale. 


x 


Mie ES 


PANG Bie 
NA HOHOA OR PRELIMINARY BEATERS. 


No. 372 is a polyhedral form rather uncommon, and apparently made by rub- 
bing down the sides on a rough stone and then grooving. 
No. 385 is a beater of plain round form like a club; these are not often used. 


No. 367 is the regular form. All these are figured about half length. 


PLATE l. 


MEmorrs BISHOP MUSEUM, VOL. III. 


NA HOHOA OR PRELIMINARY BEATERS. 


PGA E 2. 
HAWAIIAN IE Kuxku OR KAPA BEATERS. 


No. 193 is a marked specimen of the halua koeau pattern exceedingly well 


carved. 


No. 2845 is the only beater of this peculiar pattern in the Museum collection, 
and there is also a kapa beaten with it that is by no means new although in good 
condition. The halua pawehe niho mano or shark tooth design gives a good sur- 
face to the kapa. 


No. 284 shows a favorite pattern, especially on Kauai, with the lines so deeply 


cut as to appear made by a saw, but probably a shark tooth cutter could do as 
clean work. 


No. 8673 is a fine specimen of the hoopai pattern. 


Memoirs BISHOP MUSEUM, VOL. III. PLATE 2. 


HAWAIIAN IE KUKU OR KAPA BEATERS. 


IDI GAN: sy 
HAWAIIAN IE Kuku OR KAPA BEATERS. 


No. 9399 is a good example of the hoopai halua. 
No. 9384 is a well cut specimen of the kapuai koloa pattern. 


No. 9381 has a remarkably long handle, and the pattern pepehi pawehe has 
carefully even lines. 


No. 9376 is the favorite Kauai pattern with lines closer than common. 


No. 9385 is the hoopai pattern with very close lines; intended for the finest 


kapa. 


PLATE 3. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


HAWAIIAN IE KUKU OR KAPA BEATERS. 


PLATE 4. 
HAWAIIAN IE Kuxku OR KAPA BEATERS. 


No. 9379 is a pepehi with the halua lines irregularly spaced so that the 
‘Gslands’’ are of different shapes and sizes. 


No. 9401. ‘The pattern upena halua pupu is regular but the space failed on 
the right side. 


No. 9375 is a very regular specimen of hoopai halua, probably from Kauai. 
No. 9376 is a halua koeau with the zigzags very cleanly cut. 


No. 9383 is an example of the odd forms common to Kauai having two puka 
or pupu on each ‘‘island’’. 


PLATE 4. 


MeEMoIRS BISHOP MUSEUM, VOL. III. 


Vy vy 


5 LR 


——_—_—_— 


ae, 


ard 


9383 


9376 


9401 


9379 


A BEATERS, 


KAP 


OR 


KUKU 


IAWAIIAN IE 


PA ACITE SS). 
MARQUESAN TAPA BEATERS. 


These all show the short handle and long face peculiar to the group. The 
hoopai pattern is not very regular, and in some shows considerable wear. The or- 
namental markings on Nos. 9952 and 6128 may be marks of proprietorship; the 
termination of the handle differs in each. 


PLATE 5. 


MeEmorrs BISHOP MUSEUM, VOL. III. 


9952 


9951 


MARQUESAN 


995° 


9949 


TAPA BEATERS, 


PGA 6. 
TAHITIAN TAPA BEATERS. 


These beaters, showing both the hoopai and pepehi patterns are of good shape 
and more carefully formed than any of the Hawaiian specimens, but the patterns 
are not so carefully cut. While some are short, the average is longer than on 
Hawaii. 


PLATE 6. 


MEMOIRS BISHOP Museum, VOL. III. 


TAHITIAN TAPA BEATERS, 


PALES. 
BEATERS FROM THE TONGAN AND SOLOMON GROUPS. 


The beaters on this plate are short and thick and generally distinct from the 
Polynesian forms already shown. In the Tongan the sides are no longer parallel 
but inclined towards the handle, which is short and flaring. ‘The clumsiness of 
the Solomon Islands specimens is in keeping with the coarseness of the fabric they 
prepare; the shape and proportion of the faces remind one of the stone faces used 
in old Mexico. No ruler seems to have been used in marking the ridges. 


PLATE 7. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


TAPA BEATERS. Solomon Islands. 


Tonga. 


PLATE 8. 
HAWAIIAN OHEKAPALA OR BAMBU STAMPS. 


These are represented at about half size, and give a fair idea of their average 
form and carving. ‘They are lateral type instead of vertical. On the next plate 
will be seen impressions of these and others. 


PLATE 8. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


I cael SN aS ASL lay 


a een neers 


es 


ee 


ee lt at mn te 


BAMBU STAMPS. 


NA OHEKAPALA. 


PLATE 9: 


IMPRESSIONS OF BAMBU STAMPS IN THE BISHOP MUSEUM. 


These are photographed from the actual impressions. Some, as Nos. 2, 10, 


12, 18, 24, 27, were for detached designs; others like Nos. 4, 5, 6, 32, 47, 54, served 
for lines of various length, and others like Nos. 9, 16, 44, 51, by repetition laterally 


made bands of any length, or borders. It will be easy to identify many of these in 


the examples of stamped kapa given in the text or plates. 


ALA DAB VV UV VIVEVUV VU TT Pee 
VVVVIEY 


é wVvvvVvVvwvy 
x ASAet ie teehee 


LECKKKE EK 
aE GAB EBEE a ara IT KLEE. CREEK 


Soe oa 
4M Ee XE we “ cal 


1, COPVOO D096 444 64-664 FOF C80 

9 ED ED) GD op » yy = yyy = 
6)? > 99 9 279 > " KLEE 

7 900 69 666 3 Bo AAS THVT ODD 


Ae nos at anne SAG 


Ta Rene 
Give ia Y ce. rs Wat ga af meee HH Rel, 


— ey LF ee. 


<q SS LLL 


WOOO KKK 
: KE he ae 
PAD Le all 


KK KEKE NZ ee 
"PEEP ay ccc CRS 
ery PAPA Ug IRIS 
See SEP RRS 
BS TDR BRR “ieee 


eae ! 32 pe >< 3€ >< ><. POLI INDLOSDDPTNEND ” 
REE - QUOOMKE ES 


Fines as eat a 
DA\VAWANV/A\W 4 yy 
° SEES TERRE LEERESS 


IMPRESSIONS OF BAMBU STAMPS. 


PLATE 10, 
SULA FROM FYyj1, 


A very beautiful border of a sula brought from Fiji by the Wilkes Expedition 
in 1840, now in the National Museum, the photograph kindly sent me by the 
Museum authorities. The design is totally different from the Hawaiian and is 
very artistically arranged and stamped. ‘The lower section is mainly in black, the 
upper in bischofia brown stamped with the upete; the border is carefully elaborated 


and is worthy of much more study than we can give it here. 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 10. 


0 LILA TEE EAE ED SALE ETE EER 


SAS A S TIGA See 


— 


RERUN RUE ERE 
SEALAWxAw ev ERE SABES SE SABLA BDWEBSSESE SE SBUERBEBR Be di a eeeeeess 


2 RA RI a I AE 


aan lead PTL 


~ 


MASI FROM FIJI. WILKES EXPLORING EXPEDITION. 


VACHE, tei. 
FiyIAN MASI IN BrsHop MuSEuUM. 


A somewhat coarse but very effective design; one edge ornamented with dentils, 
the other fringed. The band with the florets is a deep red-brown, the rest black on 
white. Collected at Suva by the author in 1896. Width 70 in., length 75 in. This 
is so nearly square that it could hardly be used as a sula. ‘The fringe is inter- 


spersed with fanciful clippings of masi. (7989.) 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 11. 


FIJIAN MASI, BISHOP MUSEUM, 


PT ASIB) or 
FIJIAN SULA IN BisHoP MUSEUM. 


From Ngau, Fiji. White masi stamped in black. The garment is 32 in. 
wide and 18 ft. long. Collected by the author at Suva in 1896. The convention- 
alized birds in the outer border are noteworthy, but the general effect of the stamp- 
ing is crowded and ill-fitting; probably a modern work. (7991.) 


PLATE 12. 


MEMOIRS BISHOP MUSEUM, VOL. IT. 


qk 3 ee, 


Berea 
Sip) Le 


x y 
’ ¢ \ 
W/) Ke 


oN Ys) AGN 
NG Ae We % 
aR sokicad Sa 
= — ; Bie 


ne yr hy pce on i 
ce weet iacygy Raat ree 


fa vas ARO 

1888 
as? 7 a 
ay 


wows reese EE AEE Oh RS 


“ee: 1te Rae 


ER Leo 


€ Bh eet 


tah 


we 


SE hp eg 


PPB RIG yy 


Y 


ae 
ae ee 


{RES 


4 
ory: 


Sy 


Ne 


(7 @ ste tea we gs 


: € & 
X 


? 


AN 


A 
ws 


e 


eS PE ae 
See 


2 


Pe] 


Apes OF 88 


UM. 


FIJIAN SULA, BISHOP MUSE 


PIP AVE ne: 
FIyIAN SuLA, BrsHop Museum. 


This makes an effective dress, but does not compare with the work shown on 
Plate 10. ‘The garment is 13 in. wide and 9.5 ft. long, obtained in Suva by the 
author. For three feet from each end the pattern is as shown in the plate; the 
middle is decorated with three squares; the color is black on white with a deep red 
centre to the broadest black line. There is a finely divided fringe allround. (7990.) 


PLATE 13. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


FIJIAN SULA, BISHOP MUSEUM. 


PLATE 14. 
FIJIAN SULA. 


This interesting sula is very neatly marked: the row of dentils at the bottom 
seems to have been stamped and is of a lighter red than the row of smaller dentils 
above. ‘The pointed fringe of the inserted ornaments is of the same dark red as 
the smaller dentils: the cross ruling is so close as to darken the white surface of 
the thin but not well beaten tapa. The lining on the white portion consists of two 
black lines with an intermediate red one, and the arrangement of the two series 
reminds one of the Hawaiian method of decoration. The specimen is in the 


author’s collection sent from the Salem Museum. 


MEMOIRS BISHOP MUSEUM, VOL. ITI. Bs PLATE 14, 


a 
SEAS yaSVELTAALN re dda nektys 029" sad 


5 re oe et ete ced 
nigh eee 


akan SO tl 
Macy odes 


CTPA 


8433 


nmi 


POET ELLE LE LLL 
REnuG 


ay 
Fiarl 


i 


FIJIAN SULA. 


PLATE 15. 
FijIAN MASI FROM TAvIUNI. BriITISH MUSEUM. 


These boldly designed patterns depend largely for effect on the triangles. 
In the upper specimen these are black and red; in the lower black and brown. 
I have not the exact scale, but in the plate the pattern is greatly reduced. 


MEmMorIrRsS BISHOP MUSEUM, VOL. III. PLATE 15. 


FIJIAN CLOTH FROM TAVIUNI, BRITISH MUSEUM. 


PIA, 16: 
FIyIAN PATTERNS IN THE BRITISH MUSEUM. 


The upper figure showing stars on irregularly stamped lines has a good 
appearance in the sheet. The stars could not have been stamped as a whole as 
no two are alike. 

The lower figure is from a sula of which a portion of the design recalls the 
figure in Plate ro, but the execution is far inferior. 


PLATE 16. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


ie ec et mm 
s 
vem ee ae ee 
me) 4 
4 3 
I 


a a 


~o ow > 
ee moe wee ee 


“x % Ne SS 


FIJIAN PATTERNS IN BRITISH MUSEUM. 


PLACE 17 
TAPA FROM NIUE. 


The well worn and rather dirty tapa from Niue was once the property and 
dress of the king of that island. The floral patterns are drawn with patience but 


not with a steady hand. The taro leaves and bananas are easily recognized. 


SIAPO FROM SAMOA. 


The Samoan pattern seems a favorite one with that people, and in the present 
example is more vivid than usual: staring steadily at it should be enough to 
hypnotise a sensitive subject. Obtained by the Museum collector. 


PLATE 17. 


MEmMorIRsS BISHOP MUSEUM, VOL. III. 


NIUE. 


TAPA FROM 


mI 
WANWAS 


———\ 


| = Ne) 


INK Ae 
AZ 


———»* 


i 


. wA 


— 


i —— 
ae 


ea 


Nei lll 


YAN 


=i 


A. 


LAR PATTERN FKOM SAMO 


COMMON TRIANGU 


RE AWE. yor 
TAHITIAN TAPA. BRITISH MUSEUM. 


The designs of this tapa are in brown on white, the dusky bands between 
them being yellow. It is hard to say what they were not intended to represent: 
only the figure on horseback can be fairly identified. The use of the spiral should 


be noted. 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 18. 


er a Pe See oe 


at 


TAHITIAN TAPA. BROWN AND YELLOW ON WHITE. 


PLATE ao- 
TAHITIAN TAPA. 


In the upper specimen the fern leaves are mingled with some other leaf which 
I do not recognize: this is much reduced and from specimen in the British Museum. 


The lower is the more common fern arranged as a central pattern on a large 
sheet. In both examples the stamp was originally a vivid crimson on bright 
yellow. ‘The lower pattern is in the author’s possession and is much stained. 


PLATE 19. 


, VOL. III. 


SEUM 


MeEmorrs BIsHOoP Mu: 


CRIMSON ON YELLOW. 


TAHITIAN TAPA, 


PLATE 20. 
TAHITIAN ‘TAPA. 


The upper specimen is from the British Museum: crimson stamped on yellow. 
The lower one is apparently stamped with the cut stem of some ensiform leaf, 
brown (originally crimson?) on yellow. It hails from Pitcairn’s Island where the 
mutineers of the Bounty took refuge with their Tahitian women. ‘The large ser- 


rated strip is pasted on, 


PLATE 20. 


MEMOIRS BISHOP Museum, VOL. III. 


| 


A 


A 


», ing “>'.* 


? 


Bua 


Ad 


* 


YELLOW ST 


wy: 


ISLAND. 


AIRN 


M PITC 


ED. LOWER FRO 


AMPED IN R 


TAHITIAN TAPA 


PLATE 22. 
TAHITIAN TAPA. 


The upper specimen is thick, of a buff color stamped light brown (originally 
crimson?). ‘The bold zigzags are a peculiar feature. The lower is the favorite 


fern pattern. British Museum. 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 21. 


TAHITIAN TAPA. RED STAMPED ON YELLOW. 


REAL Ee22: 


Siapo No. 2960 in the Bishop Museum collection is of the ordinary upete 
stamping rather neatly done, but the interesting part of the sheet is the white 
border so often found on these siapo where the artist has indulged her fancy in 
scribbling. The diagonally marked squares are put in without order. ‘The scale 
of the plate is about one-seventh of original. 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 22. 


SAMOAN SIAPO. 


i , 7 Y - : ; 
' . ae 
Z ; @ . 7 ‘ =f = : 
. a 4 “ 
; a j 
> . 4 . 
PLATE 23. ee 
ee 4 This. Samoan siapo is in the United States N sto Museu, is isn 
fo the fish designed in ie border; bea are evidently swimm ng. . 
a * . 7 yA vitgs| . 


ee 
‘, 


a 


ie 
> 


ee 


a —— 
ee “> } 


os 
a 


PLATE 23. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


UNITED STATES NATIONAI, MUSEUM. 


SAMOAN SIAPO,. 


PACE 2a: 
TAPA FROM AITUTAKI. 


This is No. 6301 B. M. and is given actual size and color. ‘The sheet measures 
8 ft. 5 in. x5 ft. 9 in. 


MEmMotIRS BISHOP MUSEUM, VOL. III. PLATE 24. 


TAPA FROM AITUTAKI. 


PLATE 25. 
TAPA FROM AITUTAKI. 


This is the same tapa represented in the previous plate of natural size here 


reduced to one-quarter, to show the curious variation in design. 


PLATE 25. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


ae 
= {i Pj 


Vans 


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— é *, % - 3 Ww 4 p, J 
/ tro <r z , < ; 
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‘ : : : 
= pO dd d : koh, ae Lon Ai 
ie . . y a7 fe 8 > M > Z F 
» pipe Renan : 
ZL i Md ded: a. = * 4 ae a be, . * 


TOS 


. te 
we 
gg Mee 


ft 


TAPA FROM AITUTAKTI, 


PLATE 26. 
RAROTONGAN TAPA, 


This tapa from Rarotonga is reduced to one-quarter size to illustrate the 
design. All of the tapas from the southeast Pacific have strong family resem- 
blances. This sheet measures g ft. 3 in.x7 ft. 4in. ‘Two sheets were brought in 
by our collector, evidently stamped with the same upete: the other measures 
8 ft. 5 in.X7 ft. 8in. (8270.) 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 26. 


RAROTONGAN TAPA (8270). 


PLADE, 27. 
SAMOAN SIAPO. 


This siapo from Mrs. Bishop’s collection (2960) is printed in the usual way 
but the surface is divided into rectangles by double lines, and these alternate rect- 
angles have a ciliated crescent in the centre: the divided lines filling these en- 
closures would indicate a wooden upete. ‘The plate is reduced six times. 


PLATE 27. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


SAMOAN SIAPO. 


PLATE 28. 
MARSHALL ISLANDS TAPA. 


A very neat and curious imitation of the beautiful mats of the Marshall Islands 
natives. ‘The ruling is carefully done; and the dark border which resembles the 
siapo of the Samoans is cut into a coarse fringe. From a photograph kindly fur- 
nished by the National Museum. 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 28. 


MARSHALL ISLANDS KAPA, IMITATING MAT. 


PLATE 29. 
RAROTONGAN TAPA. ‘TONGATABU TAPA. 


These two specimens, both from the British Museum, illustrate designs used 
on the Hawaiian Islands as well, but I have less perfect specimens for illustration 
from the latter source. ‘The upper one looks much as if the tiny drop of lava 
thrown from the Hawaiian active craters with its filament of Pele’s hair attached 
had been cemented on a stiff sheet of kapa and used as a type or upete. The 
blotches and their trail resemble nothing else so closely. The lower specimen from 
Tongatabu shows clearly the sudden change of direction in a line which all the 
Polynesian kapa designers much affected. The Rarotongan specimen is black on 
white, while the one from Tongatabu seems to be black and red (?) on a gray or 
buff ground. 


PLATE 29. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


MUSEUM. 


BRITISH 


WHIT 


BLACK ON 


RAROTONGAN TAPA, 


ABU 


TAPA FROM TONGAT 


PEALE 30, 
BARK-CLOTH FROM THE SOLOMON ISLANDS. 


These curious figures, apparently of a dugong or some allied form, are painted 
in light blue on a dirty white cloth (B. M. 8264). The same number (five) appears 
on another similar cloth from the same locality (B. M. 8267), but here the color is 
a much deeper blue, more like No. 7 in color plate BB. The figures between the 
animal rows seem to be hooks or some similar implement and may indicate that so 
many of the animals were captured. Reduced to one-fifth of the original size. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


CLOTH FROM SOLOMON 


ISLANDS. 


PLATE 


3 


0. 


Ry AB sir: 
CLOTH FROM NEW HEBRIDES AND SOLOMON ISLANDS. 


The upper specimen is a curious design in black on a white ground. ‘The lower 
is from the Solomon Islands, dark blue figures on a light gray ground. The 
larger figures are often seen on cloth from this group but their significance I do 
not know. ‘The most interesting portion of the specimen is in the lower right hand 
corner where the outline has carelessly been filled in with the blue incorrectly, and 
as the mistake could not be easily corrected, as the color soaks through the fabric, 
the correct outline has been left unfilled. Both these specimens are from the 
British Museum, and from similar figures in this Museum I suppose them reduced 


about one-third. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


SOLOMON ISLANDS CLOTH, 


PLATE 31. 


BRITISH MUSEUM. 


PGA Besos 
PAPUAN TAPA. 


1. A specimen in the British Museum painted in yellow, red and black; per- 


haps representing bananas. 


2. ‘This specimen, also in the British Museum, is attributed to New Guinea on 
the photograph sent the author. The ground is buff, the outlines of the figures 
black and the filling yellow. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


PLATE 32. 


eR « ‘ot 
P > Ov we Pa 


IS 4.64 < 
ac4eeg 4448 a 
Rea eta eé catee 
Jesedetenrere’ of i} 


zi # 4d ee gt ites 
eet a «ete re 
C4 dee Gg tte 
AC@e eae’ 04 
+ égeeg 8 E48h 5 
Ceege nce? 
“#) . 4 é 
rg Sa ehw a’ 


p¢ 


agett 
gre ea’, 
a teeey 


tig t+ 


aeqat 
et 5 bs 


46¢ 


NEW HEBRIDES. YELLOW, RED AND BLACK ON BUFF. BRITISH MUSEUM. 


NEW GUINEA. BLACK AND YELLOW ON BUFF. BRITISH MUSEUM. 


RANE e322. 
SANTA Cruz CLOTH. 


This elaborate waist-cloth was brought from the Santa Cruz group in the 
western Pacific by the Wilkes Exploring Expedition and is in the National Museum, 
to whose officers I am indebted for the photograph. 


MEMOIRS BISHOP MUSEUM, VOL. HI. 


PLATE 33. 


SANTA CRUZ CLOTH. 


WILKES EXPLORING 


EXPEDITION. 


RIVA Essa. 


A 


\ SPECIMENS FROM SAMOA AND FYI. 


1. Is from Samoa and was given by the late Gorham D. Gilman, ‘The ground 


is white ruled in red (the lighter) and black; the reverse is painted or varnished red. 


2. This is from Fiji and was presented to the author by the Peabody Academy, 
of Salem (FE. 3175). ‘The original sula from which this specimen was taken was 
brought home by S. C. Phillips in 1832. The two longitudinal broad lines are in 
red, the rest in black; the diamonds and triple short lines are stamped. It is 


interesting to note the similar style of these two patterns. 


MeEmorrs BISHOP MUSEUM, VOL. III. PLATE 34. 


- 
a2 


VAN 
ANY 


PIN ANN IANS 
UNGSUS 4S Gf o fPiBlUlly +99, 
SV ANANEC DS 4 fj Lookers "65% i ee ee 
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reve? () 


Fee O99 809% oo: 


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1 28 Sew ree TS 


eee Rer ei wii custeukeeeeenn 
SCD eRe aeurnas anu 

Se P AATF Ree Ae comm 
TOR UREREC UR Rwecuwse 
Watien.n aa oe tee ee PT) oe et 
AWNiwseumeane tt Ah te RT Tee 
eas alka MEGR OCR UPK Bees Oe men eee 
ae Rs “ "rane 40 Mena we & "= S868nRuUme a. 


an 
SQbePere ween 


SPECIMENS FROM SAMOA AND FIJI. 


Py Avieeaees 
TAHITIAN AND HAWAIIAN KAPA. 


1. The upper specimen is so precisely like many specimens of undoubted 
Hawaiian origin that I was disposed to claim it as such and made the photograph 
from the small specimen in my private collection to show the variety rather than 
use the very large specimens in this Museum. Iam, however, inclined to place it 
to the credit of the southern island, as I know such tapa was made there as well as 
here. The specimen, No. E. 3156 in the Peabody Academy of Science in Salem, 
was brought home by Captain Nathaniel Page between 1812 and 1818. The fabric 
was made by beating in fragments of kapa of a darker color. 


2. ‘The lower one is from a malo of Hawaiian make long in the collection of 
the A. B. C. F. M., and from thence purchased for this Museum. The black lines 


have a slight varnish on them and seem to be painted. 


PLATE 35. 


MeEmorrs BisHop MusEvuM, VOL. III. 


ig 


baled i, x! “a ‘ 
, - oe. 


ft 


. 


TS Wr 5 
ee eee x Se 
= La oes 


KAPA. 


HAWAIIAN 


PALE, 36: 
HAWAIIAN KAPA IN BisHorp MUSEUM. 


1. A kilohana of akapa moe. The sheet is pale buff; stripes in the dark 
squares are stamped in rich red-brown alternating with painted stripes in blue-gray. 
The whole effect is very rich. Reduced five times. (B. M. 2441.) 


2. A punctured sheet of dark brown kapa pasted ona white sheet. Obtained 
on these islands by Captain Driver about 1820. From a specimen given to the 
author by the Peabody Academy of Science, Salem (E. 3170). 


MEMOIRS BISHOP MUSEUM, VOL. III. 


PLATE 36. 


ee ek al ° 


eee Ow BH 


ee an ook s a nae 


sy. ww ie 


&P 6 is NS M ee we. > 


eee 


aes ee in ees yew! cxeee 
SSNS 8 bo 8 BE 


. “seeswenss S Ow: 


nes ee ee ©. ees ani 


OLD HAWAIIAN KAPA, 


ALANIS, ys 
HAWAIIAN KAPA. 


Both specimens are from the same sheet which is white with the lines forming 
the pattern stamped in brown; as will be seen the triangles are not always out- 
lined. lLoaned for the illustration, which is greatly reduced. 


PLATE 37. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


Lai nabben eI 
MORENO Rees 


Ra TPN AYE BE NY 
<2 


Veoeds 
AABAAAAA RYAN AA ABR 


borer 
ie Miraaapantiocnsaieiccie 
Oe le oe kidede iit Haber ! aN 


HITE. 


BROWN ON W 


FROM SAME SHEET. 


KAPA. 


HAWAIIAN 


PLATE 38. 
HAWAIIAN KAPA IN BRITISH MUSEUM. 
1. This pattern is ruled in red, black and brown on white. 


2. Inthe lower pattern the ruled lines alternate with stamped ones. Both 
specimens are reproduced from photographs and the scale is not given, but the 
reduction is considerable. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


— i - - at 


HAWAIIAN KAPA, BRITISH MUSEUM, 


I. 


Ds 


PLATE 39. 
LINE PATTERNS OF THE TIME OF COOK. 


Bands stamped in black and brown on white. From the British Museum. 


Converging lines in red and black in the K. K. Hofmuseum, Vienna. 


PLATE 39. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


pte 
-. 


re 


kK. K. HOFMUSEUM, VIENNA. 


HAWAIIAN KAPA. BRITISH MUSEUM AND 


PLATE 4o. 
HAWAIIAN KAPA IN BISHOP MUSEUM. 


This remarkable specimen was probably a kilohana to a set of bed kapa. 
The quadrants of the circles are stamped in black and red alternating, the circum- 
ference is stamped in black with a slightly different figure. The small figures 
between the circles are composed of two black and two red impressions of the 
same stamp that was used in filling the circles. No. 2432 B. M., reduced to one- 


fourth size. 


PLATE 40. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


a3 


ey 
| 
sirse! 
oh 

eu 


42.4, 


cen 


ee 


Ney 
vce Oe 


ies 


995,39, 
st 


39. 
ee, 


eee 


3S. 
- 


MUSEUM, 


BISHOP 


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4 


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RED AN 


APA, 


K 


AIIAN 


HAW 


PLATE 41. 
HAWAIIAN Kapa. CooK COLLECTION. 


t. A soft, smooth and thin piece of white kapa on which twin dots are stamped 
in intersecting bands. The dark figures are painted in red ochre. 


2. A kapa of similar character to the last, the bands being stamped in twos, 
the intermediate figures in threes. Both specimens from the author’s collection of 
Cook kapa. Nearly same size. 


DS 


PLATE 41. 


Memorrs BISHOP MUSEUM, VOL. III. 


Ln) Pao ae 


te 


Maes 


4. 


ee 


COOK COLLECTION, 


HAWAIIAN KAPA, 


PEATE a2: 
HAWAIIAN KAPA IN BISHOP MUSEUM. 


1. This kilohana of a kuina of kapa moe is a remarkable example of expert 
stamping. ‘The sheet is well bleached and the stamps are in black; the regularity 


is almost as exact as if printed on a modern press. (No. 2362 B. M.) 


2. This small fragment (B. M. 8814) is roughly stamped, but is of a curious 


design. It is represented full size. 


PLATE 42. 


MeEmorrs BISHOP MUSEUM, VOL. III. 


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HAWAIIAN KAPA, BLACK ON WHITE. 


PIP AUB a3. 


PUNCTURED HAWAIIAN KAPA. 


Both specimens are from the same sheet (B. M. 2450), the upper full size, the 


lower is reduced to one-sixth in order to show the arrangement of the punctures in 
triangular form. Like all these punctured patterns the black (which in this case 
is kalo patch mud which turns in time to a rusty brown) is thin and punctured as 
shown, then while wet is pasted to the white sheet and the two beaten together. 


PLATE 43. 


MEMOIRS BISHOP MUSEUM, VOL. III. 


HAWAIIAN BLACK LACK KAPA. 


PLATE 44. 
HAWAIIAN KAPA. 


1. This specimen of a border from Kauai was given to the writer by the 
Peabody Academy of Science. Originally yellow with turmeric dye, it has faded 
almost completely, but the black stamps were in the ink made from the soot of 
kukui nuts and have remained much as originally impressed. This pretty border 


was part of a kihei or native shawl. 


2. This kapa was apparently stamped in rectangles composed of twenty 
rosettes, but the fragment sent me leaves this uncertain. Sent me from the Phila- 
delphia Academy of Natural Sciences, and I understand it was brought here by 


the Wilkes Expedition. 


er 


MEMOIRS BISHOP MUSEUM, VOL. III. 


HAWAIIAN KAPA,. 


PLATE 44, 


PIVAIE AS. 
HAWAIIAN YELLOW KAPA WITH BLACK STAMPS. 


Both the patterns on this plate belong to the decoration of the pa’u or female 
dress, whether for the hula or, later, forriding. The base is yellow and the figures 
are stamped with more or less care. Both specimens are in this Museum. 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 45. 


4 “oR To ce ame 3 b} 


a Re oe 


~ 2 


SIS feng Rone “p R 4 
Gp RI 


HAWAIIAN KAPA, BLACK ON YELLOW. BISHOP MUSEUM. 


See 


PLATE 46. 
HAWAIIAN KAPA. 


1. A specimen from Mrs. Bishop’s collection. ‘The ground is pale pink, per- 
haps ohelo. ‘The bands are ruled with double lined pens, each alternate one also 
ruled transversely; between the bands are little figures, perhaps flowers, scattered 
rather irregularly. A fragment. (No. 2468 B. M.) 


2. Another fragment, part of a once yellow kihei, stamped in black and 
bright red. Much worn, but well stamped. (B. M. 2438.) 


Memoirs BISHOP MUSEUM, VOL. III. PLATE 46. 


& 
¥ 
= 
2 


¥ 
i 
8 
es 
cg 
eur 
* 


Scene 


oi eed 


HAWAIIAN KAPA, 


PVRATE, 47: 
HAWAIIAN KAPA. 


1. A very soft white kapa from the author’s collection of Cook kapa, ruled 


with bright red lines. 


2. A curious design sent me from the British Museum printed in black on 
white. Noscale was given, but I should judge it to be not more than quarter size. 
The ovoid figures are not leaves, and the fringe about them is a part of the same 


ornamentation of the stripes. 


rrr EE 


MEMOIRS BISHOP MUSEUM, VOL. III. PLATE 47. 


DDD SSS SSS SSS | Sy SS 


he 2 hae deme hae a rae 
a > ad > 4 Se oor wy 


D 2 >>> SS > >>> > >>> >>> ere tetn Hh >>>> 


>>: SSS nee pie SS SSS SSS SS >>> > >>> : 
¥ Pea ae 
ae. AB Pesieles 
eh RRA LLE IPP >> > D2 DMP gape 


Lap >< © 
Ses >>> SS D>. >. 


“ae ~ ~~ 


HAWAIIAN KAPA, 


PLATE 48. 
HAWAIIAN KAPA. 


These specimens are from Oahu, and are of the same design and coloration. . 
They were parts of stripes used for malo or pa’u. 


Memoirs Bisuor Museum, Vor. IIT. PLATE 48, 


rd 


aig Sha 
ee PR 
ats my pet 


HAWAIIAN KAPA FROM OAHU, 


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Te 


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BY 


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x 
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MEMOIRS OF THE BERNICE 
PAUAHI BISHOP MUSEUM OF 


| POLYNESIAN ETHNOLOGY 


AND NATURAL HISTORY. III. 


COLOR PLATES 


eee aera 6/ S|) ae 


MUSEUM PRESS 


HONOLULU, H. I. 


IQII 


(2? arena HO 


2 
©) 
WILLIAM T. BRIGHAM 
| 
: 
(@) 


Explanation of the Color Plates. 


AA and BB are intended to show the color of the specimens referred to in the text and are made 


B. 


Q 


D. 


lil 


carefully from actual specimens. Doubtless in some cases the color has faded from its original 
tone, especially with the yellows. 


Represents a portion of a pa’u: the ground yellow stamped in black and red; both the yellow 
(olena) and red (noni) have nearly faded out. A good type of band formed by narrow stamps. 


Portion of a pa’u, well beaten and dyed yellow (olena) and stamped red (alaea) and black 
(nanahu). Collected by Captains Crowninshield and Folger in 1802. Given by the Peabody 
Academy of Science, Salem, Mass. (E. 3152). 


Yellow (originally) kapa ruled with black and red, collected by Captains Crowninshield and 
Folger in 1802. Given by the P. A. S. (E. 3165). 2. A fragment from the Philadelphia 
Academy of Natural Sciences, dating from the time of the Wilkes Expedition: originally yel- 
low with black lines and brown filling. 3. Portion of a child’s dress; the red filling is alaea. 
Purchased from the American Board of Commissioners for Foreign Missions (B. P. B. M. 7783). 
4. Portion of a holoku (B. P. B. M, 2487) ruled first in red, then in black. 


Fragment of vellow kapa stamped in black and ruled in red. Peale collection, 3168. Given 
by P.A.N.S. 2. From the Marquesas by Captains Crowninshield and Folger in 1802. Given 
Dye ASS: CH asi5o))e 


1-3. Striped kapa from the Rembrandt Peale collection, 4448, 4450 and 4449. Given by P. A. 
N.S. 4. Curious specimen from the author's collection of Cook kapa, C. ro. 


1. A much faded specimen originally with a bright pink lining and black stamps of xzho me 
ke haukeuke (B. P. B. M. 2397). 2. A showy kapa (B. P. B. M. 2395) marked with what is 
called the ‘“‘echinus pattern’’ for some unknown reason. The pink bands were originally 
much brighter. 


1. An oiled kapa pa’u remarkably stamped with many thousand impressions in black and red 
(B. P. B. M., 2316). 2. Another oiled kapa once belonging to Queen Kalama, wife of Kameha- 
meha III (B. P. B. M. 2695). Both these much desired for purposes of native sorcery. 


1. A brown, leathery, mamaki kapa from Kauai, author’s collection. 2. From Cook collec- 
tion II, 37. 3. From same collection, No. 81. 


1. A thick, painted kapa kilohana, very old (B. P.B.M., 2776). 2. Kapa rudely painted with 


alaea and nanahu, said to have been found in a burial cave some twenty-five years ago (B. P. 
Be Mee 2235). 


1. A gray kilohana stamped with the ‘‘bent knee’’ pattern in alaea and nanahu (B. P. B. M. 
2470). 2. A kilohana of blue with surface cut into triangles by stamped lines of black, some 
filled in with red (B. P. B. M. 2443). 


1. A kilohana made as described on page 113 (B. P. B. M., 2505). 2. Portion of a kapa pa’u 
from Oahu. Black stamps on ohelo-colored ground. From R. Peale collection, No. 4480. 
Given to the author by the P. A. N.S. 


I. 1. Very old and thin kihei or pa’u (B. P.B.M. 2435). 2. Asimilar fragment stamped in alaea 
and nanahu; B. P. B. M. 


M. 1-2. Stamped figures, from very old and ragged pa’u in the author’s collection. 3. Specimen 
in this Museum 2434. 


N. 1. Curiously arranged border of a piece from the Peale collection (P.A.N.S., 4483). 2. Old 
piece of similar character (B. P.B.M., 2692). The ground of plates L—N was originally yellow. 


O. 1. A woolen-like kapa from the author’s collection of Cook kapas II, 16. 2. Another speci- 
men of similar character from the same collection, No. 23. 


P. 1. A specimen of excellent kapa, well stamped, a fragment of a malo purchased from the 
A.B.C.F.M. (B. P. B. M., 7775). 2. Kapa from the P. A. S. (K. 3260), dating from the be- 
ginning of the last century. 


Q. 1. Ruled and stamped kapa (B. P. B. M. 2471). 2. A well-ruled specimen from the British 
Museum in the author’s collection. 


R. 1. Specimen of similar age and character in the author’s collection of Cook kapas II, 76. 
A wonderfully colored specimen from the same collection, 71. 


Ny 


S. 1. A specimen from which the label has unfortunately been detached, but I believe it from a 
choice collection of Cook kapa sent me by my friend the late Enrico H. Giglioli of Florence. 
2. Leathery kapa from the Peale collection (P. A. N. S., 4494). 


T. 1, 2, 3 are all from the author’s collection of Cook kapa, II, 74, 79, 78. 


U. 1. A fragment of a malo given by the late Gorham D. Gilman of Boston, long a merchant on 
the Hawaiian Ids. in the first half of the last century. 2, 3, 4 are from the Cook II, 4, 30, 23. 


V. 1. A small piece (B. P. B. M. 2777.) decorated with nanahu, alaea and noni. 2. From the 
U.S. Nat. Museum. 3. From the British Museum. 


W. Both specimens on this plate were from the Cook collection first cited, and as they were very 
small, owing to the unwise generosity of some former owner of the book, the author has repeated 
the pattern with care for the colors. 


xX. A remarkably well ruled and stamped specimen in the Kaiserlich-Koniglich Naturhistorische 
Hofmuseum. This and the following plate (Y) was made from specimens kindly loaned by 
Herr Custos Dr. Franz Heger. ‘These with other of the Cook relics were bought in London in 
1806 by the order of the Emperor Francis II, from the Parkinson and Leverian collections. 
Sydney Parkinson was artist to Sir Joseph Banks during Cook’s first voyage. The original 
inventories of this purchase were examined during a visit to this splendid museum, but no 
information of special interest was obtained. The purchase was only curiosities for the imperial 
cabinet. 


Y. This specimen, in the Vienna museum from Cook, is attributed to Tongatabu, otherwise I 
should not hesitate to call it Hawaiian. 


All the above plates were photo, chromo-lithograph by Herr Lowy of Vienna. Plate Z, the 
frontispiece, was made by the American Colortype Company, by the three color process. Plate ZZ, 
page 212, by the same process in Honolulu. 


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sbi’ OF THE BERNICE 
)  PAUAHI BISHOP MUSEUM OF 
BA 2 POLYNESIAN ETHNOLOGY 
AND NATURAL HISTORY. IIL 


ie 30 —as 


MUSEUM PRESS — 
HONOLULY, H. L. 


BOARD OF TRUSTEES 


ALBERT F. JUDD - sence eeees> ef dese Rie seka Rate cee Ate +»... President 
TE FAXON. BISHOP®: ede yes esiceccvee se sveveeess Vice-President 


J. M.. DOWSETT + ee crs cee tree rene + oti eeele avieic.esth CLEASHTCE 


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Hjenzy HoLMeEs, SAMUEL M. Damon,, WuiLiiam O. SMITH 


MUSEUM STAFF 


" Wenuram T.. Bk1GHaM, Sc.D. (Columbia) -++-..++++.+ Director 
at ‘oye H. DALL, PH.D «+... Honorary Cuxator of Motlasoa 
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C. MonTAGuE CooKE, P=.D. (Vale)...--.. Cuxator of Pulmonata 
Orro H, SwWEZEY «+-+..+-++.+ Honorary Curator of Entomology 
CHARLES N. FORBES «+ -s.ceeeeeeseeee esses, Curator of Botany 
JOHN W. THOMPSON: «cesecenscenecene cee « Antist and Modeler 
Miss E. B. HIGGINS «+e, BEDE oN EMPIEEE i ete Oh ey ecb nt Go| 
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PUBLICATIONS OF THE BERNICE PAUAHI 
BISHOP MUSEUM 


{All previous price lists are ‘hereby cancelled.) 


A Handbook for the Bishop Museum. Oblong octavo, 94 half-tone illus- 
trations, Price 25 cts., postage 9 cts, 


Stokes. Price $1.75, postage 5 cts. 


Occasional Papers, Vol. I. Octavo. mae 


ina journey around the world. (Out of print. ] 
No. 2. Director’s Annual Reports 1899. Mat Sails of the Pacific 


| Price, 50 cts., postage 4 cts. Tan ce $ 
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Occasional Papers, Vol. II. ; : ; F 

" No. I. Director’s Annual Report, 1902. Mbiweihs Pawatian 
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man, Distribution and Variation of Achatinella multizonata—Cooke. 
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Nesting Habits of the Hawaiian Owl—Bryan. Description of the Nest 
and Eggs of Chlorodrepanis yirens (Gmel.)—Bryan. Notes on the 
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(OVER) 


Index to Abraham Fornander’s “Polynesian Race.” By John F, G. 


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we 
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