the cheeks, extending to the corners of the mouth. What a curiosity I would have been, though, when I came out of the bush! I would have been able to earn my living in my old age, going on exhibition, like the bearded lady in the circus!"
It was Te Ua the prophet who forbade the tattooing. He happened to be in residence at Te Paka just then, and he reminded "Ringiringi" that he had tapu'd him, and explained that to moko his skin would be a violation of that particular brand of tapu. To the white man this was not quite clear; nevertheless, he agreed to obey the prophet's Mosaic command "to make no cuttings" in his flesh, and remained a plain, undecorated pakeha.
However, he acquired some skill himself with the tattooing instruments, and exercised it in printing names and sundry devices on the persons of the villagers. He learned, too, how to manufacture the indelible ngarahu, or kapara, pigment. In making this tattooing-ink the soot from fires of white-pine (kahikatea) wood was used. A cave-like hole was dug in the side of a bank, with an opening resembling a chimney in the top. A large fire was kindled in the cave, or rua, and for several days was constantly fed with the resinous timber of the kahikatea. Above the earth-chimney were arranged a number of twigs of the karamu shrub (a coprosma), with the bark stripped off, set up in the shape of a tent, and covered with a layer of leaves. The dense
