The make-up and style of these ki’i are so similar that a description of one will serve for all six. This marionette represents the figure of a man, and was named _Maka-kú_ (pl. IX). The head is carved out of some soft wood—either kukui or wiliwili—which is covered, as to the hairy scalp, with a dark woven fabric much like broadcloth. It is encircled at the level of the forehead with a broad band of gilt braid, as if to ape the style of a soldier. The median line from the forehead over the vertex to the back-head is crested with the _mahiole_ ridge. This, taken in connection with the [Page 92] encircling gilt band, gives to the head a warlike appearance, somewhat as if it were armed with the classical helmet, the Hawaiian name for which is _mahi-ole_. The crest of the ridge and its points of junction with the forehead and back-head are decorated with fillets of wool dyed of a reddish color, in apparent imitation of the _mamo_ or _o-ó_, the birds whose feathers were used in decorating helmets, cloaks, and other regalia. The features are carved with some attempt at fidelity. The eyes are set with mother-of-pearl. The figure is of about one-third life size, and was originally draped, the author was told, in a loose robe, _holokú_ of tapa cloth of the sort known as _mahuna_, which is quite thin. This piece of tapa is perforated at short intervals with small holes, _kiko’i_. It is also stained with the juice from the bark of the root of the kukui tree, which imparts a color like that of copper, and makes the Hawaiians class it as _pa’ikukui_. A portion of its former, its original, apparel has been secured. The image is now robed in a holokú of yellow cotton, beneath which is an underskirt of striped silk in green and white. The arms are loosely jointed to the body. The performer in the hula, who stood behind a screen, by insinuating his hands under the clothing of the marionette, could impart to it such movements as were called for by the action of the play, while at the same time he repeated the words of his part, words supposed to be uttered by the marionette. The hula ki’i was, perhaps, the nearest approximation made by the Hawaiians to a genuine dramatic performance. Its usual instrument of musical accompaniment was the ipu, previously described. This drumlike object was handled by that division of the performers called the hoopa’a, who sat in full view of the audience manipulating the ipu in a quiet, sentimental manner, similar to that employed in the hula kuolo.