Happily, one of the most reliable old men, Kapiera by name, had at one time lived with Tomenika, who was said to have been in those days always busy writing; and he was able to explain the general bearing of the tau. When a koro was made in honour of a father, an expert was called in to commemorate the old man’s deeds, “how many men he had killed, how many chickens he had stolen,” and a tablet was made accordingly. There was, in addition, a larger tablet containing a list of these lesser ones, and giving merely the name of each hero and the year of his koro. It would read somewhat thus, “James the year four, Charles the year five,” and so forth, going up to the year ten, when the numbers began again. If there were two koro in a year, they came under the same numeral. It was this general summary which had been recited by Tomenika, and, though there was a certain amount of confusion, each line seems to have represented a decade. In addition, as will be seen, “James” and “Charles” each had a kohau of their own. Kapiera was able to give a specimen of the lesser tau; it illustrates interestingly the general method of condensation in which, even in the recitations, a few words assume or implicate extended knowledge. It ran thus, “Of Kao the year nine,” “Ngakurariha the eldest”; then come five men’s names followed by the name of a fish; then a doubtful word; then “that side island my place.” “I see Ngakurariha at the koro.” The story, as explained, was that Kao, a man of Vinapu on the south coast, and Ngakurariha, his eldest son, went to Mahatua on the north side and stayed with the five men whose names are given, who were brothers, and learnt from them the tau. Having done this, they proceeded to murder them, and went and took a fish, then returned to Rano Kao, made a koro and the tau. The tau was, it was said, originally made by an ancestor of the first immigrant chief, Hotu-matua; it was not taboo in the same way as the other rongo-rongo, and was not known to Ngaara. There were, about the beginning of last century, only three personages acquainted with it. One was Omatohi, a Tupahotu, whose son, Tea-a-tea, was Tomenika’s foster-father and instructor in the art. It was said by Tomenika himself and by others that he “only knew part,” and there were other signs with which he was not acquainted, for his foster-father had died before he knew all.