when the work came to an end; the soil would then in time be washed away, and the figure fracture through loss of support. In the quarry which is shown in fig. 54, the finished head can be seen lying across the opening, the body is missing, presumably broken off and buried; the bottom of the keel on which the figure at one time rested can be clearly traced in a projecting line of rock down the middle of its old bed, also the different sections where the various men employed have chipped away the stone in undermining the statue. In the quarry wall the niches occupied by the sculptors are also visible, at more than one level, the higher ones being discarded when the upper portion of the work was finished and a lower station needed. The hand of the standing boy in fig. 51 rests on a small platform similarly abandoned. [Illustration: FIG. 52. STONE TOOLS (_Toki_). ] [Illustration: FIG 53. _H. Balfour del._ ] [Illustration: FIG. 54. HEAD OF A STATUE AT MOUTH OF QUARRY FROM WHICH IT HAS BEEN HEWN. [No. 72. Fig. 60.] ] [Illustration: FIG. 55. UPPER PORTION OF LARGEST IMAGE IN QUARRY, WITH ALLEY-WAY FOR WORKMEN. [No.64. Fig. 50.] ] The tools were found with which the work has been done. One type of these can be seen lying about in great abundance (fig. 52). They are of the same material as the lapilli in the statues, and made by flaking. Some specimens are pointed at both ends, others have one end more or less rounded. It is unlikely that they were hafted, and they were probably held in the hand when in use. They were apparently discarded as soon as the point became damaged. There is another tool much more carefully made, an adze blade, with the lower end bevelled off to form the cutting edge. In the specimen shown, the top is much abraded apparently from hammering with a maul or mallet (fig. 53). These are rarely found, the probability being that they were too precious to leave and were taken home by the workmen. The whole process was not necessarily very lengthy; a calculation of the number of men who could work at the stone at the same time, and the amount each could accomplish, gave the rather surprising result that a statue might be roughed out within the space of fifteen days. The most notable part of the work was the skill which kept the figure so perfect in design and balance that it was subsequently able to maintain its equilibrium in a standing position; to this it is difficult to pay too high a tribute.