The bird-man, having obtained the egg, took it in his hand palm upwards, resting it on a piece of tapa, and danced with a rejoicing company down the slope of Rano Kao and along the south coast, a procedure which is known as “haka epa,” or “make shelf,” from the position of the hand with regard to the egg. If, however, the winner belonged to the western clans, he generally went to Anakena for the next stage, very possibly because, as was explained, he was afraid to go to Hotu Iti; some victors also went to special houses in their own district, otherwise the company went along the southern shore till they reached Rano Raraku. Amongst the statues standing on its exterior slope, there is shown at the south-west corner the foundations of a house (no. 7, fig. 60). This is the point which would first be approached from the southern coast, and here the bird-man remained for a year, five months of which were spent in strict taboo. The egg, which was still kept on tapa, was hung up inside the house and blown on the third day, a morsel of tapa being put inside. The victor did not wash, and spent his time in “sleeping all day, only coming out to sit in the shade.” His correct head-dress was a crown made of human hair; it was known as “hau oho,” and if it was not worn the aku-aku would be angry. The house was divided into two, the other half being occupied by a man who was called an ivi-atua, but was of an inferior type to the one gifted with prophecy, and apparently merely a poor relation of the hero; there were two cooking-places, as even he might not share that of the bird-man. Food was brought as gifts, especially the first sugar-cane, and these offerings seem to have been the sole practical advantage of victory; those who did not contribute were apt to have their houses burnt. The bird-man’s wife came to Raraku, but dwelt apart, as for the first five months she could not enter her husband’s house, nor he hers, on pain of death. A few yards below the bird-man’s house is the ahu alluded to on p. 191 (fig. 60); it consists merely of a low rough wall built into the mountain, the ground above it being levelled and paved. It was reserved for the burial of bird-men; they were the uncanny persons whose ghosts might do unpleasant things—they were safer hidden under stones. The name Orohié is given to the whole of this corner of the mountain, with its houses, its ahu, and its statues. To this point the figures led which were round the base of the hill. If they were re-erected, they would stand with their backs not to the mountain, but to Orohié.[64] As the bird-man gazed lazily forth from the shade of his house, above him were the quarries with their unfinished work, below him were the bones of his dead predecessors, while on every hand giant images stood for ever in stolid calm. It is difficult to escape from the question, Were the statues on the mountain those of bird-men?