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| 4 | <TITLE><<TOC1>> Hamilton Garden</TITLE>
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| 10 | <!--
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| 11 | <Section>
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| 12 | <Description>
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| 13 | <Metadata name="Title">Hamilton Garden</Metadata>
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| 14 | <Metadata name="Radius">0.0</Metadata>
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| 15 | <Metadata name="Latitude">-37.0</Metadata>
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| 16 | <Metadata name="Longitude">175.0</Metadata>
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| 17 | <Metadata name="Chapter"></Metadata>
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| 18 |
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| 19 | </Description>
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| 20 | -->
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| 21 |
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| 22 |
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| 23 | <!--
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| 25 | <Description>
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| 28 | <Metadata name="Latitude">-37.80608675</Metadata>
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| 29 | <Metadata name="Longitude">175.3029395</Metadata>
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| 30 | <Metadata name="Chapter">1</Metadata>
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| 31 | <Metadata name="Title">1 Beginning of gardens</Metadata>
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| 32 |
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| 33 | </Description>
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| 34 |
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| 35 | -->
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| 36 | Welcome to the Hamilton Gardens. Hamilton Gardens is not a
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| 37 | traditional botanic garden. We like to say, that while botanic
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| 38 | gardens are collections of plants, Hamilton Gardens is a
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| 39 | collection of gardens. So we have taken lots of different kinds of garden designs and collected
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| 40 | them together in one place. We have organized those gardens into five collections: Paradise Garden
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| 41 | collection, The Productive Garden collection, Fantasy garden collection, Cultivar Garden collection and a
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| 42 | landscape garden collection. Hamilton Gardens itself started in 1964 and was developed in kind of a hodgepodge
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| 43 | sort of way until the 1980s when a new overall plan was laid out.
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| 44 |
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| 45 |
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| 46 | <!--
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| 47 | </Section>
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| 48 | <Section>
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| 49 | <Description>
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| 52 | <Metadata name="Longitude" >175.30264764</Metadata>
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| 53 | <Metadata name="Chapter">2</Metadata>
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| 54 | <Metadata name="Title">2 Beginning of paradise garden</Metadata>
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| 55 | </Description>
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| 56 | -->
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| 57 | You are now at the paradise gardens. The reason why they're called paradise
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| 58 | gardens is because they all follow idea that a garden is a kind of a paradise,
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| 59 | so it's a refuge or retreat from the everyday world. So they're all small walled gardens,
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| 60 | enclosed gardens. The word paradise comes from an old Persian word that means enclosed garden.
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| 61 | We have brought together here different designs from different eras and different places around
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| 62 | the world. The paradise gardens are the most well known ones of all our garden collections. We
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| 63 | have used actual classic garden designs that have been highly influential on gardens.
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| 64 | <!--
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| 66 | <Section>
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| 67 | <Description>
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| 70 | <Metadata name="Longitude" >175.3029906750</Metadata>
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| 71 | <Metadata name="Chapter">5</Metadata>
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| 72 | <Metadata name="Title">5 Japanense Rock Garden</Metadata>
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| 73 | </Description>
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| 74 | -->
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| 75 | A Japanese garden is not all revealed to you in one grand moment. It's sort
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| 76 | of revealed to you in stages. This part is often called the Zen garden. Its proper name
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| 77 | is karesansui which means dry landscape or water mountain landscape. Again, obviously the
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| 78 | rock placement is crucial. It's not something that we're necessarily trained to see. There
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| 79 | are never any flowers in here; they're always pruned off. The classic kind of interpretation of
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| 80 | this landscape is that it is a shoreline. So the gravel is the water and the swirling patterns of the current and then we have the headland from the islands and so on.
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| 81 |
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| 82 | There are no flowers as it is thought that bright colours will disturb the tranquillity of
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| 83 | the views. It's supposed to be very calming. The background is left blank; so it's as if they're drawn on a blank sheet of paper, and they are a bit
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| 84 | like the landscapes that are drawn on silk screen scrolls. They use a lot of negative space when they're painting.
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| 85 |
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| 86 | A similar effect can be seen when looking at the water. The rocks up close to us a really big and all the rocks on the
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| 87 | far shore are kind of small, which it accentuates the distance. So again it's a vast landscape in miniature, collected here for us.
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| 88 | The Japanese garden designers take a lot of care to replicate the patterns in nature; the way that the water arose, the land and the way that the trees grow over the water.
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| 89 |
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| 90 | <!--
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| 93 | <Description>
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| 97 | <Metadata name="Chapter">6</Metadata>
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| 98 | <Metadata name="Title">6 Entrance of English Garden</Metadata>
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| 99 | </Description>
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| 100 | -->
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| 101 | Now we jump fast forward into the late 1800's; maybe early 20th
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| 102 | Century and into England. There was a kind of back to nature type drive happening
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| 103 | in response to all the industrialisation and things that was happening in England at the time. <br />
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| 104 | What we've done here is we've taken three classic kind of garden designs, all based
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| 105 | on layouts that were done by Gertrude Jekyll and her friend Lutyen. There is a long border, the collector's garden and a white garden.
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| 106 |
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| 107 | <!--
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| 110 | <Description>
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| 114 | <Metadata name="Chapter">7</Metadata>
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| 115 | <Metadata name="Title">7 Long Border</Metadata>
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| 116 | </Description>
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| 117 | -->
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| 118 | The long border is just simply what it says, it's just a big long path with flowers either side; mostly annuals and some perennials and mixed border,
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| 119 | as they say. The warm colours are in the middle and the cool colours are at the end. It has the reds and the oranges and the yellows around the middle,
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| 120 | and then at the end all the blues and the more pastely, pinky, bluey things. It's actually quite carefully put together.
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| 121 | <!--
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| 124 | <Description>
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| 128 | <Metadata name="Chapter">8</Metadata>
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| 129 | <Metadata name="Title">8 Collector's Garden</Metadata>
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| 130 | </Description>
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| 131 | -->
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| 132 | This is an English collector's garden.
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| 133 | This is the garden that the plant collectors
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| 134 | really like. By this stage in European garden history,
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| 135 | lots and lots of plants have been collected from all around the world.
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| 136 | People went to all sorts of interesting places and bring back all these
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| 137 | plants, and growing them in their gardens. So, while the other kind of garden
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| 138 | traditions are based a lot on what was available natively in that location at that
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| 139 | time; this is one of those gardens that brings lots of interesting planting material together. This is a copy of a pavilion that exists that Millmead house.
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| 140 |
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| 141 | <!--
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| 148 | <Metadata name="Chapter">9</Metadata>
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| 149 | <Metadata name="Title">9 White GardenWater in the Italian Garden</Metadata>
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| 150 | </Description>
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| 151 | -->
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| 152 | There's not just white flowers in here; there is also silver foliage like one the big trees.
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| 153 |
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| 161 | <Metadata name="Chapter">10</Metadata>
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| 162 | <Metadata name="Title">10 Entrance to Chinese Garden</Metadata>
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| 163 | </Description>
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| 164 | -->
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| 165 | This is the Chinese Scholar's garden. This is the oldest one from
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| 166 | all the paradise gardens. They go right back to second century if we like;
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| 167 | although lots of these design elements were common to lots of different viewers.
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| 168 | This garden tells the story of a life cycle. Along with the Japanese garden tradition,
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| 169 | the Chinese gardeners collected rocks. And one of the things that the rocks connects to
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| 170 | is those Chinese scrolls and the scroll art, and those paintings they would do of those amazing kind
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| 171 | of mythical mountain ranges where the immortals were supposed to dwell. So this has been a miniature.
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| 172 | Again we've got these big blank walls there with the rocks against them; so the classic opening.
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| 173 |
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| 174 | <!--
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| 177 | <Description>
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| 181 | <Metadata name="Chapter">11</Metadata>
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| 182 | <Metadata name="Title">11 The Entrance</Metadata>
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| 183 | </Description>
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| 184 | -->
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| 185 | One of the interesting things about this garden is the contrast,
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| 186 | so this is the dark area; its covered in Jasmine and it smells really good when it's
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| 187 | in flower. So there's dark and then there's light inside and outside and so on. So in terms
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| 188 | of that story of that lifecycle, I guess that's kind of birth.
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| 189 |
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| 190 | Again, there's a kind of representation of nature here that much less restrained and much less abstract than the Japanese version.
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| 191 |
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| 192 |
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| 193 | <!--
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| 195 | <Section>
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| 196 | <Description>
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| 197 | <Metadata name="Radius" >0.004</Metadata>
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| 198 | <Metadata name="Latitude">-37.80675698</Metadata>
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| 199 | <Metadata name="Longitude" >175.3039148</Metadata>
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| 200 | <Metadata name="Chapter">12</Metadata>
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| 201 | <Metadata name="Title">12 Tree, Rock and Bridge</Metadata>
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| 202 | </Description>
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| 203 | -->
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| 204 | The rock in the enclosure there came from the bottom of Lake Taihu in China. It got shipped over here. The gardeners putt a different bonsai three there every month.
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| 205 |
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| 206 | The bridge is not straight to stop the dragons coming across it. They're also dragon shapes represented on the top of those walls. In this garden you can see plants
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| 207 | native to china. For the Chinese certain plants had strong associations. For example, the bamboo represented uprightness and strength.
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| 208 |
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| 209 |
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| 210 | <!--
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| 212 | <Section>
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| 213 | <Description>
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| 214 | <Metadata name="Radius" >0.005</Metadata>
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| 215 | <Metadata name="Latitude">-37.8066641092</Metadata>
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| 216 | <Metadata name="Longitude" >175.3039830923</Metadata>
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| 217 | <Metadata name="Chapter">13</Metadata>
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| 218 | <Metadata name="Title">13 Monk in Grotto</Metadata>
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| 219 | </Description>
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| 220 | -->
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| 221 | The cave holds a littel statue of a monk.
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| 222 | <!--
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| 223 | </Section>
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| 224 | <Section>
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| 225 | <Description>
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| 226 | <Metadata name="Radius" >0.005</Metadata>
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| 227 | <Metadata name="Latitude">-37.80680524</Metadata>
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| 228 | <Metadata name="Longitude" >175.30421622</Metadata>
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| 229 | <Metadata name="Chapter">14</Metadata>
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| 230 | <Metadata name="Title">14 The High Point</Metadata>
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| 231 | </Description>
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| 232 | -->
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| 233 | This point symbolises the high point of your life;
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| 234 | you get to this point and then you stand up here and you survey where you've been.
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| 235 | It is a restful garden because there is a lot of green and not many flowers, just some shade.
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| 236 | And at the end of the path, you find yourself back where you began.
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| 237 |
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| 238 | <!--
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| 240 | <Section>
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| 241 | <Description>
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| 242 | <Metadata name="Radius" >0.005</Metadata>
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| 243 | <Metadata name="Latitude">-37.80686102</Metadata>
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| 244 | <Metadata name="Longitude" >175.30338661</Metadata>
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| 245 | <Metadata name="Chapter">15</Metadata>
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| 246 | <Metadata name="Title">15 Entrance to Modernist Garden</Metadata>
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| 247 | </Description>
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| 248 | -->
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| 249 | This is the modernist garden based on the designs of Thomas Church;
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| 250 | most of his famous designs are in California. This garden represents a domestic backyard.
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| 251 | All these plants here are specifically native plants. In America, gardens use American trees and American plants;
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| 252 | the ones we used were mostly from Southern California. Some of them come from the east coast but most of them come from the west coast.
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| 253 |
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| 254 | The design is very modernist; there's no symmetry and everything's kind of curvy. All the materials are kind of space age materials of the time.
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| 255 |
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| 256 | <!--
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| 258 | <Section>
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| 259 | <Description>
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| 260 | <Metadata name="Radius" >0.007</Metadata>
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| 261 | <Metadata name="Latitude">-37.80699413</Metadata>
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| 262 | <Metadata name="Longitude" >175.30360142</Metadata>
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| 263 | <Metadata name="Chapter">16</Metadata>
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| 264 | <Metadata name="Title">16 American House</Metadata>
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| 265 | </Description>
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| 266 | -->
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| 267 | The intention when they built this garden was
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| 268 | to symbolize the house with ranch sliders and one looks onto
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| 269 | the back yard. Of course we can't build a whole house there so
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| 270 | we just had a draft of it.
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| 271 |
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| 272 |
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| 273 | <!--
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| 276 | <Description>
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| 277 | <Metadata name="Radius" >0.012</Metadata>
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| 278 | <Metadata name="Latitude">-37.80681071</Metadata>
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| 279 | <Metadata name="Longitude" >175.30282743</Metadata>
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| 280 | <Metadata name="Chapter">20</Metadata>
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| 281 | <Metadata name="Title">20 Italian Renaissance Garden</Metadata>
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| 282 | </Description>
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| 283 | -->
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| 284 | This is the Italian Renaissance garden; so obviously it comes from the Renaissance period, a rebirth of culture,
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| 285 | coming out of the dark ages in Europe, and specifically in Italy where it starts in Florence. So you had a coming together
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| 286 | of lots of different historical forces.
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| 287 |
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| 288 | You had this concentration of extreme wealth firstly, and that was
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| 289 | partially because of the Catholic church had its headquarters, and it was taking a lot
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| 290 | of money from the rest of Europe. You had an increased scientific knowledge and increased
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| 291 | humanistic rationalism coming along, and with that there was a huge opening up of trades.
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| 292 |
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| 293 | This is quite a big garden by our standards. It is based on this small private side garden of a
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| 294 | much, much bigger garden complex in Italy. The Italian merchants were quite wealthy and they spent money on their gardens.
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| 295 | At the same time there's an increased interest in antiquity; so part of their Roman heritage and kind of the Roman Empire and so on.
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| 296 | So there's a really interesting congruent here between a new rationalistic, scientific view of the world and a Christian catholic view of
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| 297 | the world, and a pagan classical view of the world; all that is coming together there. For example, the water feature is a pagan Romulus and Remus statue
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| 298 |
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| 299 | <!--
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| 302 | <Description>
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| 303 | <Metadata name="Radius" >0.012</Metadata>
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| 304 | <Metadata name="Latitude">-37.8068357706</Metadata>
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| 305 | <Metadata name="Longitude" >175.3027600050</Metadata>
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| 306 | <Metadata name="Chapter">21</Metadata>
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| 307 | <Metadata name="Title">21 Overview of Italian Garden</Metadata>
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| 308 | </Description>
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| 309 | -->
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| 310 | There's two kinds of key overall layout aspects. One is just the fact that there are three areas.
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| 311 | So there's the outside bosco area beyond the garden in the forest, the untamed wilderness from which only the beasts live,
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| 312 | and humans came from there but we don't live there anymore. The second area is the orchards, the prater with its fruit trees and grapevines,
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| 313 | and then the third one is the bottom part, which is the formal part of the garden.
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| 314 | Cicero talks about the fear of nature. There is the first nature, which is the untamed wilderness.
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| 315 | The second nature, which is the farming, and then the third nature which is the garden. Third nature is nature plus art; whereas farming and gardening for
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| 316 | food is nature plus science or functional behaviour.
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| 317 |
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| 318 | <!--
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| 319 | </Section>
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| 320 | <Section>
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| 321 | <Description>
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| 322 | <Metadata name="Radius" >0.005</Metadata>
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| 323 | <Metadata name="Latitude">-37.80698196</Metadata>
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| 324 | <Metadata name="Longitude" >175.30278038</Metadata>
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| 325 | <Metadata name="Chapter">22</Metadata>
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| 326 | <Metadata name="Title">22 Water in the Italian Garden</Metadata>
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| 327 | </Description>
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| 328 | -->
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| 329 | Another layout aspect is the progression of water. There are actually little nozzles in the wall next to the grotto and they make this lovely little
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| 330 | mist and this is a grotto that represents the female and fertile. Beyond that there's some little fountains that go down underneath it and then there's
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| 331 | the big fountain in the middle; it spurts up, and it's a much more masculine. And then beyond that there's the mighty river.
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| 332 |
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| 333 | Obviously, it is a highly symmetrical garden area. You may notice that from each garden you can't see any of the other gardens.
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| 334 | This garden and the Indian garden are really good examples of what garden designers do; which is that they borrow scenery, they borrow
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| 335 | the landscape from outside. So, if your neighbour has a really big, lovely oak tree; you can build that into your design. And so here's a
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| 336 | great example. The river is not part of Hamilton gardens but it certainly makes a good impact when you come out here and see it.
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| 337 |
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| 338 |
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| 339 | <!--
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| 342 | <Description>
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| 343 | <Metadata name="Radius" >0.006</Metadata>
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| 344 | <Metadata name="Latitude">-37.80704606</Metadata>
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| 345 | <Metadata name="Longitude" >175.3024579</Metadata>
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| 346 | <Metadata name="Chapter">23</Metadata>
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| 347 | <Metadata name="Title">23 Medici Court</Metadata>
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| 348 | </Description>
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| 349 | -->
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| 350 | This is the Medici court; fantastic for outdoor theatre and so on, and the Medici gallery out there which is a little patio area.
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| 351 |
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| 352 | <!--
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| 357 | <Metadata name="Latitude">-37.8068084</Metadata>
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| 358 | <Metadata name="Longitude" >175.30235491</Metadata>
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| 359 | <Metadata name="Chapter">24</Metadata>
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| 360 | <Metadata name="Title">24 Tainui</Metadata>
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| 361 | </Description>
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| 362 | -->
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| 363 | This is our newest garden and its consequently the one that we feel most proud of. It's called Te Parapara. Te Parapara is a
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| 364 | traditional Maori garden of a kind. It's not a recreation of existing or historical Maori gardens as much as the Paradise gardens are,
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| 365 | but it is much more of a narrative garden. It basically tells a story of the establishment of cultivated food crops in New Zealand.
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| 366 |
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| 367 | The story begins at the gate; which represents the landing of Tainui waka in New Zealand in a kind of landfall. On the right hand side
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| 368 | after the gate there is a pomaderris Tainui tree, big and tall. On the left is a little Pohutekawa tree. The Pohutukawa represents the tree
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| 369 | that the Tainui waka was tied to when it first was landed at Tawhia. The Pomaderris represents the floor boards, and in the story of the landing
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| 370 | of Tainui, the floor boards took root. We know that this is mythical because pomaderris was native.
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| 371 |
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| 372 | <!--
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| 373 | </Section>
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| 374 | <Section>
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| 375 | <Description>
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| 379 | <Metadata name="Chapter">25</Metadata>
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| 380 | <Metadata name="Title">25 Hoturoa Statue</Metadata>
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| 381 | </Description>
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| 382 | -->
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| 383 | The statue here is Hoturoa and he was the captain of the Tainui waka.
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| 384 | He is carved in a Tahitian style to represent the fact that there was no kind of
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| 385 | indigenous New Zealand art; they were all from the islands. And so all these plants are
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| 386 | the plants that we here natively when the waka began arriving. Lots of these native plants
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| 387 | were used as foods or textiles, or other kinds of useful things by the early Maori. They discovered that
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| 388 | these plants had medicinal uses or you could eat them.
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| 389 |
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| 390 | <!--
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| 391 | </Section>
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| 392 | <Section>
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| 397 | <Metadata name="Chapter">26</Metadata>
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| 398 | <Metadata name="Title">26 Gate</Metadata>
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| 399 | </Description>
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| 400 | -->
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| 401 | This structure represents an entrance way to a Pa or a Marae. The hut on the left of the entrance is a
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| 402 | koutou which is a traditional food preparation structure and is outside because it's not tapu. Food preparation
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| 403 | is not tapu; its noa, so it's not sacred.
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| 404 |
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| 405 | The figures on the gate tell the story of the discovery of Oka, the use of ochre to preserve timber and preserve
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| 406 | carvings. The ochre is made with a kind of iron rich clay, mineral rich clay that is often found in stream beds. There
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| 407 | are lots of different colours: the red that you see most places to a yellow, a black and a white. It is mixed with fat
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| 408 | which soaks into the timber and helps preserve the timber. Often times the coastal tribes would use shark fat.
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| 409 |
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| 410 | Coming back to the figures on the gate, they tell the story of a man who was married and then the patupaiarehe, which
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| 411 | are like the fairy people; came and stole his wife. He went to look for his wife and he couldn't ever find her because
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| 412 | she would be there in the mist and then as soon as he went to get her she would disappear; so he could never get her back.
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| 413 | So he went to see a Priest and the Priest said, "You draw a circle around yourself with a mixture of kumara and ochre;
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| 414 | smear it on the ground and then when she comes you'll embrace her and it will scare off the patupaiarehe". And the man
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| 415 | did as he was told, and it worked. They say that the kind of the patupaiarehe who wanted to marry her still lives at the top
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| 416 | of Mount Pirongia when the mist comes over that mountain. She is shown on the right hand side, her husband on the left side and
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| 417 | the fairy people up the top.
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| 418 |
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| 419 | The figures with square shaped faces represent Matariki, which is the Pleiades.
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| 420 | This is the constellation that is quite important for timing the kumara harvest. For
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| 421 | the Greeks it was seven sisters but for a Maori it's a woman and six daughters.
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| 422 |
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| 423 |
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| 424 |
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| 425 |
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| 426 | <!--
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| 433 | <Metadata name="Chapter">27</Metadata>
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| 434 | <Metadata name="Title">27 Koomera</Metadata>
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| 435 | </Description>
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| 436 | -->
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| 437 | This is the realm of the cultivated food crops. They were brought here on the waka; they're not native to New
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| 438 | Zealand, and there's actually just recently been a really important archaeological discovery on the west coast of
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| 439 | the South American continent of a chicken bone that proves contact between Polynesians and south Americans. The Polynesians
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| 440 | came to south America. When Columbus got to South America and discovered that there were chickens there. They didn't know why
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| 441 | and at the same time Polynesians have got kumara, and kumara is native to south America. It doesn't appear in Europe; it's a
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| 442 | new world crop. So there are theories that Polynesians came from Taiwan or they came from the old world. It leaves that question: Where did they get the kumara from?
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| 443 |
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| 444 | The kumara we've got growing in this area was the most important crop for Maori. It was the number one source of carbohydrate for
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| 445 | them. All other the native plants together did not provide any productive capacity of this kind; the ease of its cultivation and so on.
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| 446 | Kumara doesn't set seed in New Zealand because it is too cold. So every season they have to sort out the tubas that they're going to keep
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| 447 | for the next year's planting and the tubas they're going to eat.
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| 448 |
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| 449 | The maori accumulated a vast knowledge on this problem of how to make sure that they have got enough kumara for the next crop. When
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| 450 | the European explorers got here they had this huge plantation of really well organized plantations of kumara.
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| 451 |
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| 452 | So this entire garden is now set up for kumara planting in a central position. All kumara in this garden gets harvested and the
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| 453 | first bit gets presented to the Maori King and then the rest of it gets eaten in a big hangi. The Hamilton Gardens grow at least
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| 454 | two of the original four varieties from pre-European times. When Europeans got here and brought bigger, better kumara from South
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| 455 | America, the Maori gardeners started using those as they yield bigger tubers. The old types of kumara got lost and then in the 1960s
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| 456 | or 1970s the Crown science people were looking for the old varieties but could not find them anywhere. They had to go to a Japanese
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| 457 | scientist who had been out here in New Zealand and got tubers to store them in Japan. So these old types that we have growing here owe
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| 458 | their existence to a Japanese scientist.
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| 459 |
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| 460 | You will see that each plant is planted in a mound. The mound is there for lots of reasons. It increases the amount of sunlight
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| 461 | that hits the ground, to keep it warmer for longer; especially when the sun gets low. You can't plant kumara until November and so it's
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| 462 | really crucial to keep the end of the season as far away as possible. April, May; and the sun is getting quite low in the sky. Another
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| 463 | aspect is increased drainage so the tubas don't rock. It also provides soil improvement and Maori gardening sites are usually discovered
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| 464 | by the existence of borough pits, basically big holes in the ground where good soil; which is usually very, very sandy; very pumicey, would be dug
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| 465 | up and watered. So the soil you see here is full of rocks and pumice and sand to make it much better draining than it otherwise would be. So we find
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| 466 | very advanced soil improvement techniques that are certainly far beyond hunter gatherer type societies.
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| 467 |
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| 468 |
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| 469 |
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| 470 | <!--
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| 477 | <Metadata name="Chapter">28</Metadata>
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| 478 | <Metadata name="Title">28 Mulberry Tree</Metadata>
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| 479 | </Description>
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| 480 | -->
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| 481 | This is paper mulberry which can be used to make a type of cloth out of it. During the summer it grows like a weed. In the winter time it just dies down.
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| 482 | In Northland it grows for the whole year but where there's a frost, it will die back.
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| 483 |
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| 484 |
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| 485 | <!--
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| 492 | <Metadata name="Chapter">29</Metadata>
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| 493 | <Metadata name="Title">29 Taro Plant</Metadata>
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| 494 | </Description>
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| 495 | -->
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| 496 | This one is a Taro plant. You can eat the leaves and its root.
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| 497 |
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| 498 |
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| 499 |
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| 500 | <!--
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| 507 | <Metadata name="Chapter">30</Metadata>
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| 508 | <Metadata name="Title">30 Three Houses</Metadata>
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| 509 | </Description>
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| 510 | -->
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| 511 | You can see three structures here. They are really interesting and the main focus point. All three of them are storage buildings.
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| 512 | When the European missionaries arrived, they reported that the most elaborate sanctuary buildings in the village were not the chief's houses;
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| 513 | they were the store rooms. There's an entirely alternative approach to property compared to the European approach. The rua goes down underground so
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| 514 | it keeps the kumara's cool and dry. The patika and the whatarangi are raised up, to give security from feeding kids and rats.
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| 515 |
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| 516 | Storage house design varied depending on the tribe... some reports would say a whatarangi was 10 metres in the air with one single pole,
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| 517 | and it was for dead people; they would put skeletons up there.
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| 518 | If you look at the bottom panel of teh largest structure - that's a replica of a piece of wood that was found buried in a garden in Chartwell in the 1970s;
|
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| 519 | this original piece of wood now belongs to the Waikato museum. So every effort has been made in this garden to make sure that the carvings are accurate, to
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| 520 | pre-European carving style. Because of course, like any art form, there's changes in style and changes in technique, so where practical they have used traditional
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| 521 | stone tools and traditional patterns .
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| 522 |
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| 530 | <!--
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