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Postcard purchased June 2013. At front, left, Peat's gift shop, and his Treasure House. Rear, left, Alec Bishop's house; at right "Quambi/Quamby", F O Peat's house. Information from Titirangi Fringe of Heaven, p. 72.
This card was another recent purchase from the UK. Seeing postcards for West Auckland on the auction market that aren't to do with the Waitakere falls is unusual, so I went ahead and took the plunge.
The Titirangi Treasure House, a private museum meant to become part of a grand tourist complex, still exists today, but not as it once was. The property on which it sits is a very small part of a vast area of land, Allots 44-46 of the Parish of Waikomiti, the original September 1855 Crown Grant possibly going to John Alfred Langford, an Auckland merchant and shipping agent. In October that year he transferred to the timber firm of Canty & Bishop, (7A.610) and it became the core of the Bishop family's story in the Titirangi hills.
The main phase of subdivision of this property began during World War I. A quarter acre was transferred to Frank Oscar Peat in October 1925 (oddly, this transfer was re-registered, along with other transfers made by the Bishop family, in mid 1927). (28A.424) This piece appears to have been the site of the Treasure House. Another quarter acre, possibly next to the first and to the west, also facing Brooklyn (now Huia) Road, was transferred to Peat in October 1927. (NA 463/79) Then William Alexander Bishop transferred over 1½ more acres to Peat at the end of 1929, including land fronting Brooklyn Road, and the corner site fronting Brooklyn Road and School (now South Titirangi) Road to Hotel Titirangi Limited. (NA 463/79) In 1936, Peat transferred the land he owned adjacent to the Titirangi Hotel to the company. (NA 604/198)
Frank Oscar Peat was born 1883 to Robert Betts Peat (from Waikato, but born in India) and Elizabeth Euphemia (née Bishop, born in Freemans Bay), so was part of the Bishop extended family. Elizabeth's parents lived at Dunvegan House, where the first son Robert Joseph Peat was born. Frank was the second son, of a total of seven children, five boys and two girls.
R B Peat worked for the Railways Department. By June 1881 he was stationmaster at Penrose, then was transferred to Frankton Junction in 1889, Kawakawa in 1897 (including Opua), and in 1902 moved from Kawakawa to Dargaville, and put in charge of the Kaihu Valley Railway. He died at Dargaville aged 60 in 1913.
Frank O Peat first went into business in Dargaville as a jeweller by the early 1910s. He made a bit of a splash, becoming involved with a candle-burning promotion for a local movie theatre.
The Dargaville police recently proceeded against Mrs Montgomery, proprietor of a picture show, for having established a candle-burning competition by which prizes were gained; and against F O Peat, for having sold tickets, giving the purchasers of the same an interest in the gaining of such prizes. The police, in outlining the cases, showed that by purchasing a shilling ticket a purchaser was entitled to guess the time it would take a certain candle to burn, the winning prizes being gold watches. Each ticket also admitted the purchaser to a cinematograph entertainment. The police seized the books in connection with the scheme, and found that some hundreds of people had entered the competition. Mr Fraser, S.M., in giving judgment, decided to dismiss the information. The evidence adduced on behalf of the defence showed that several competitors had made elaborate calculations by measurement and computation, on which they based their estimates of time, which eliminated the element of pure chance. He held that if the exercise of skill on the part of the competitors contributed to success the scheme was not a lottery, although chance would have played a part in it. He was certain that an approximate degree of accuracy was attained by careful computation on the part of those whose estimates were the produce of thought and skill rather than guess work.
Press, 9 October 1911
According to Wallie Titchener in Marc Bonny's 2011 book Titirangi Fringe of Heaven (Titchener is a grandson of Frank Peat), Peat devoted his whole life to collecting Maori artifacts. He also gathered up items of natural history interest (stuffed birds, bats, sea life) and accumulated a celebrated kauri gum collection. Part of this latter fascination Peat exhibited in Auckland in July 1923 at the Winter Exhibition, then again at the Dominion Industrial Exhibition in June the following year.
Four impressive displays, representing the combined wealth production of four important districts of the Auckland Province, attracted much attention at the Dominion Industrial Exhibition yesterday … Next to dairy produce, the northern districts are noted for their export of kauri gum and the collection of gums exhibited by Mr F O Peat, of Dargaville, is a truly beautiful display. Of a unique character, too, is the display of seven varieties of kauri gum oils and the crude gum from which they are derived valued, according to the labels, at from £30 to £350 per ton. Naturally, the mineral waters from the Helensville Hot Springs are represented by attractive samples, Kaipara coal, enamelled tiles, wool, wines, flax, field produce, including an 84lb pumpkin, dressed bullocks and a huge kauri ''flitch," measuring 10ft. by 5ft., are other outstanding displays. Mr. Peat has an exhibit of stuffed birds from his great, collection at Dargaville …
NZ Herald 11 June 1924
Even though Frank Peat, his wife and children had a large home in Dargaville, Titchener recalls, the collection made the home so cluttered that the decision was made to sell up everything in Dargaville and move to Titirangi. I'd say the success of Peat's two exhibitions, plus the plans being made at the time by William Alexander Bishop and his partners to replace the Bishop family's store and tea kiosk at Titirangi with a luxurious hotel complex, had a lot to do with the decision as well.
He sold his Dargaville business in August 1925, but at the time told the local papers he wasn't about to leave the district. However, by July 1926 he had commissioned architect Reginald B Hammond to design the fireproof brick and plaster museum on the property he acquired from his family, and this was completed by December that year. The Auckland Star published the following description – possibly penned by Peat and his partners.
NEW AUCKLAND MUSEUM.FINEST COLLECTION OF KAURI GUM IN THE WORLD.POPULAR TOURIST CENTRE.Almost every city in America proudly refers to some one of its possessions which is '"the best in the world.'' And it is not vain boasting, either, but an expression of healthy civic patriotism. Henceforth Aucklanders will be able to make similar claim, for nestled away in the Blue Mountains at Titirangi, along the city's great exhibition drive is, undoubtedly, the finest collection of Kauri gum in the world. It is an amazing exhibition, and Aucklanders will experience a keen sense of delight and appreciation when they see it. More than a '"nine days wonder at Titirangi", it is so truly an Auckland and a national asset that some day a big effort will be made to secure it for the public for all time.Occupying two acres in the charming forestry of the hills stands "The Titirangi Treasure House," a sweet building of chaste design, appropriately lending itself to its mission. Tiled roof, cream concrete walls, pillared portico (60 by 40), not unlike a Greek Temple. Architect, Mr. Reg. Hammond, Dominion town planning expert. The fairy dell which it occupies is being rapidly transformed into a botanical garden, crammed with native flora. A most charming place for a day's picnic. In the treasure house is the rarest collection of kauri gum, Maori curios and handicraft. New Zealand birds and beautiful timbers; also an invaluable display of historic photos of Auckland and of wider interest. The whole setting is artistic and delightful. A rare rendezvous of pleasure and profit. Buses run from the G.P.O., Auckland, at 9.45 daily, and also special trips.
Ref 4-4084, Sir George Grey Special Collections, Auckland Library
This unique private museum has been established for the enjoyment of the public by a former resident of Dargaville, Mr. F. O. Peat. Its contents are the fruit of more than twenty years' assiduous collecting and the expenditure of a large sum of money.Mr. Peat's kauri gum collection, consisting of several thousand specimens, occupies four cases each nearly 20ft long and 5ft wide. The pieces were obtained from every gumfield in North Auckland.Sir Edwin Mitchelson, who is a recognised authority and the donor of a fine collection to the Auckland Museum, went out recently with Mr. F. L. Gribbin to inspect it. Both stated that it was the finest they had ever seen, and the best in the world.The Maori curios are of great interest. They include a fine carved sternpost from the largest canoe used on the Manukau Harbour in the 'forties, a large waka-huia or feather-box carved and inlaid with paua shell; a kumete or food-box, supported by two human figures: a cylindrical box made to contain food given to a tohunga; several carved posts from houses, and a large number of mats, fish-traps, bone, greenstone and wooden meres, flutes, adzes, tomahawks, canoe-balers and ornaments, among which are a couple of tikis. One fish hook, of copper, is stated on good authority to have been made from metal obtained when Captain Cook's vessel called at Mahia in 1705.
Ref 4-4075, Sir George Grey Special Collections, Auckland Library
The most interesting of the historic relics is a half-suit of armour, consisting of a breastplate, back-plate and helmet. This was obtained by Mr. Peat from the Webster family at Opononi. The helmet, which has a high crest and the remains of a red plume, resembles that worn by British cavalry of the early nineteenth century. It bears a brass frontal plate with the Royal arms and the words "Waterloo" and '"Peninsula." Tradition has it that the armour was given by George IV to a Maori chief in 1820. It is known that such a gift was made to the famous Hingi Ika when he visited England, but whether this armour belonged to him is not known at present. Mr. Peat means to make further inquiries on the subject.The natural history collection includes stuffed and mounted specimens of the huia, tui, pigeon, parakeet, kakapo, long-tailed cuckoo, shining cuckoo, kaka, bellbird, saddleback, blue-mottled crow, weak, bittern, and many other native birds. There are rare seashells, including the paper nautilus, and a fine exhibit of the large native snail found in kauri forests.Round the walls of the hall are many photographs and prints of early New Zealand scenes and people. Altogether, the museum is a fine example of energy and perseverance on the part of its owner. It will add greatly to the attractions of Titirangi and is surely destined to be one of the chief centres of tourist attractions in Auckland's environs.
Auckland Star 17 December 1926
Peat also built a house there for his family, named "Quambi" (sometimes spelled "Quamby"). According to Wallie Titchener:
"My maternal grandfather, Frank Peat, built the house called Quambi at 1 Huia Road. At the time he was building the house there was a corrupt inspector at the County Council who would not approve the position of septic tanks unless offered money. My grandfather played dumb until, as my grandmother recalled, the inspector said,"For Gods sake, £5 will do it." My grandfather was a personal friend of Gordon Coates, the prime minister, and passed the information to him. Subsequently, the County Council had one less staff member!"
Titirangi: Fringe of Heaven, 2011, p. 211
In October 1928, the new company Hotel Titirangi Ltd had its registration reported in the Mercantile Gazette with capital of 50,000 shares of £1 each, in the business of "Hotel properties etc. and incidental." (Evening Post, 15 October 1928)
Auckland Star, 8 December 1934
The proposal to erect a modern hotel at Titirangi has assumed definite shape through the flotation of a company, Hotel Titirangi Ltd., with a nominal capital of £50,000. The new company, which has already gone to allotment, has purchased the property and tea room business of Mr W A Bishop, and intends to erect an hotel capable of accommodating 63 guests, and including a tearoom, garden, ballroom, and basement garage. The building is to be fireproof, with central heating and all modern conveniences.
Lopdell House, formerly Hotel Titirangi, in 2010
Considerable support from residents of the district has already been given to the undertaking, as it is anticipated that the proposed hotel will become the centre of one of the finest and most popular of holiday resorts in the Dominion.
Auckland Star 27 October 1928
The Treasure House was listed among the surrounding attractions in the area around the proposed hotel, along with the nearby golf club and other outdoor recreation sites. (Prospectus, Auckland Star 27 October 1928)
Bishop's store/post office at Titirangi was pulled down in late 1929 to make way for the new hotel (with stock from the store plus the postal facilities moved to the family's tea rooms until it was possible to move everything into the new building). (Auckland Star 3 December 1929) William Alexander Bishop was chairman of the Hotel Titirangi company at that time. (Auckland Star 21 December 1929)
Mr F O Peat, writing from the Treasure House, Titirangi, where his well-known museum overlooks the Manukau Harbour, has sent me some interesting bird notes on the birds at Titirangi and the Huia. Mr Peat believes that the pigeon is maintaining its numbers and is fairly plentiful between Titirangi and the Huia …
Auckland Star 5 April 1930
The new hotel opened 20 November 1930. In 1931, however, Hotel Titirangi Ltd went into liquidation, reportedly due to "the present dull times". (Evening Post 9 March 1931) It did re-open in December 1934, after the company registered with a much-reduced capital of £1220. (Star, 22 November 1934) The Hotel Titirangi, though, finally closed its doors in 1942 when it was sold to the Crown for a school for the deaf. (NA 680/59)
From the time of the first closure, though, Peat obviously saw the writing on the wall for the hoped-for tourist centre concept. He began looking for a new home for his collection,and found one with the assistance of his friend Gordon Coates.
KAURI GUMMR F O PEAT'S COLLECTIONPURCHASED BY MUSEUMDescribed as the finest collection of its kind in the world, kauri gum specimens owned by Mr F O Peat of Titirangi, Auckland, are to be acquired by the National Art Gallery and Dominion Museum. The trustees of the museum will receive an allocation of £3000 from the proceeds of the Great Easter Art Union, and the money will be devoted to the purchase of the kauri gum and Maori curios. Recently Mr Peat received a tempting offer from an American museum, but he has decided to accept the New Zealand offer, preferring that the collection should remain in this country. The collection is at present housed in Mr Peat's private museum at Titirangi, and it will remain there until the erection of the Dominion Museum building in Wellington is completed.
Evening Post 13 April 1933
Hubert Earle Vaile, however, was less than impressed with such a purchase in the midst of a nationwide economic depression. Not to mention his own keen interest in supporting the Auckland War Memorial Museum, of which he was president 1926-1931. What followed was what was at times an acrimonious exchange in the newspapers between Vaile and Peat.
AN EXTRAORDINARY PURCHASE.Many of our readers must have been astounded to read yesterday that in a time of acute national stringency the Government has been able to find £3000 to present the Peat collection of kauri gum and Maori curios to the Dominion Museum in Wellington. We publish a letter to-day from Mr H E Vaile which throws some light on the transaction, but calls for more information. Kauri gum is a substance confined to the Auckland province, and the collection is an Auckland one, so that the proper place for it is the Auckland War Memorial Museum. Indeed, this museum tried to secure it, but could get no help from the Government, yet two Auckland members of the Government go past this institution and buy the collection for the Dominion Museum at a price that is apparently much higher than that for which it could have been bought for Auckland. It is stated that there was a danger of the collection leaving the country, and that Mr Peat was prepared to take less than he was offered from America, in order to keep it in New Zealand. Mr Vaile, however, mentions £2000 as the figure for which the collection could have been bought for Auckland, and the Government gave £3000. Why was the price raised to this extent? It is an extraordinary transaction, especially when the needs of the times are considered. For example, the Cawthron Institute, the most valuable scientific research institution in New Zealand, which is doing most important work for our industries, is feeling the financial pinch so seriously that there is talk of it having to close. Its closing would be an absolute scandal, made all the worse by reason of the provision by the Government of £3000 out of art union profits for a collection largely consisting of kauri gum.THE PEAT COLLECTION.AN UNWARRANTED PURCHASE.(To the Editor.)Keen as I am on the acquisition of museum specimens, I do not think public funds should be spent in this direction when part of the public is short of food. It is only fair to say that the Wellington Museum had nothing to do with it, and the purchase is a political one. It is strange, however, that two Auckland Ministers; —the Rt. Hon. J G Coates and the Hon. J A Young—should be so anxious to put the collection past Auckland. It was made in this province of northern material, and the owner was very anxious for it to the Auckland War Memorial Museum, and offered it accordingly. Having no money, some friends of the museum endeavoured to get an art union permit from the Government, with the result that it was bought over our heads for £3000. The Government recently voted no less than £100,000 of public money for the museum building at Wellington, and finds no difficulty in buying collections for it. If we ask for assistance —moral or financial— we invariably meet with a flat refusal, notwithstanding that we pay the whole costs of our own museum and about one-third of Wellington's. I know the Peat collection well. It consists mostly of gum specimens which have been out of demand for many years, and the only price I have previously heard mentioned is £2000, and the story of other buyers is not very convincing. However, I suppose the Government is to be congratulated upon having so much money in these hard times, even if it is spent in Wellington. We certainly do not see much of it here. H. E. VAILE.
Auckland Star 13 April 1933
PEAT COLLECTION.STATEMENT BY OWNERHIGHER OFFER REFUSED.PORTION FOR AUCKLAND.Mr F O Peat, of Titirangi, whose collection of kauri gum and Maori curios has been purchased by the Government, replies to criticism of the transaction that appeared in the "Auckland Star" on Thursday. Mr Peat writes: "Mr H E Vaile's letter in your paper of the 13th instant, and your editorial founded on his remarks, are misleading to the public and most unfair to the Rt. Hon. J G Coates, the Hon. A Young and myself. Mr Vaile and your editorial state that the Government has paid £3000 from the public funds for this collection. This is contrary to fact. The purchase price is found by means of funds from an art union, subscribed to by participants throughout the whole of New Zealand, and this collection of kauri gum specimens will be housed in the Dominion Museum and National Art Gallery for all time for all the people of New Zealand. Mr Vaile states that 'he knows my collection well; it consists mostly of gum specimens out of demand for many years" (whatever that means) and infers that its value is £2000. If Mr Vaile can prove that the Peat collection of kauri gum specimens is not the best in the world of its kind and is not worth at least £3500, I will give £500 to the Auckland Museum, provided he agrees to give the same amount should he fail to prove this within 12 months from this date."My collection has never been offered for the ridiculous price mentioned by Mr Vaile. I offered it to the Government for £5000 some time ago. This offer was not accepted through lack of funds. Subsequently a wealthy American tourist, a patron of American museums, who had made overtures from time to time for the purchase of the kauri gum collection, made a definite offer of £3500 cash to me. My desire has always been to keep this collection in my native land if possible, and when it was suggested that the Dominion Museum authorities might find £3000 by way of an art union, provided I agreed to accept this amount, and so keep the exhibits in New Zealand, I turned down the better offer and agreed to accept £3000 on the distinct understanding that the kauri gum specimens would be housed in the Dominion Museum, which I had lately ascertained had no collection, whilst the Auckland Museum has Sir Edwin Mitchelson's very fine collection of kauri gum specimens."Subsequently, I understand, the Auckland Ministers mentioned in Mr Vaile's letter and your editorial took steps to have the valuable Maori and other curios comprised in my collection divided between Auckland and the Dominion Museums and National Art Gallery, when the building now in course of erection is completed. This means that the Auckland Museum will receive a portion of the Maori section of the collection."
Auckland Star 15 April 1933
THE PEAT COLLECTION.Mr. Peat entirely misses the point. I have been in business all my life, and would be the last to object to anyone selling his goods to the best advantage. The gum is excellent, but for years past, as any dealer or auctioneer will agree, kauri gum collections have been unsaleable, and Mr Peat is to be congratulated and not blamed for obtaining what seems to me a very handsome price indeed—and I have bought many collections. What I maintain is that in these times the Government has no right whatever to buy any collection with public funds. Surely Mr Peat does not argue that it was bought with private funds. He mentions "an" art union. What art union? The second objection I make is that kauri gum is found in this province only, and the Government should not have competed with us for it and presented it to the Wellington Museum. From a public viewpoint this political purchase is indefensible, especially when the vendor is to retain possession for two or three years, and will presumably be entitled to charge to see it, as heretofore. H E VAILE.
Auckland Star 17 April 1933
The long negotiations which led to the public acquisition of the valuable collection of kauri gum specimens and Maori curios from Mr F O Peat, of Titirangi, were detailed at the request of the "Star" correspondent by the Hon. J A Young, Minister of Internal Affairs, who was able to throw official light on some points which have been the subject of controversy. That the collection is very valuable, and that New Zealand is fortunate in being able to retain it against outside competition was a point which the Minister demonstrated. He spoke enthusiastically of the value of the kauri gum specimens, 1600 in number, and splendidly polished in an effective way, which retains a portion of the natural rough background. Mr Peat, he said, has been a life-long collector, and understood the art of polishing gum in such a way that the finished specimens would not crack. His cases for exhibiting the collection were substantial and dignified. '"There is no doubt whatever about the value of the Peat collection," declared Mr Young. "It has been described as being the best of its kind in the world, and I believe that Sir Edwin Mitchelson's fine collection, now on loan to the Auckland War Memorial Museum, is the next best. That we were in danger of losing the Peat collection altogether is definitely established, for the owner held a permit, granted by some past Government, to export it, and he was definitely offered £3500 in cash on behalf of an American museum, which desired to take it.The question of the acquisition of Mr Peat's collection had been under consideration for some time, and was first considered by my predecessor in the position of Minister of Internal Affairs, the Hon. A. Hamilton. I was informed of the matter, and the Hon. J G Coates was also aware of the position, but the difficulty was to find the money for so valuable a purchase.Offer of £3500 Cash."The position came to a head when the American offer was so obviously definite that the representative of the proposed purchasers was in New Zealand, prepared to complete the deal, for £3500 cash. It was mainly through my intervention that Mr Peat was induced to sell the collection for retention in the Dominion, and to reduce his price to £3000, which included not only the kauri gum specimens, but the valuable Maori and other curios and the exhibition cases. In accepting the lower price, Mr Peat made certain conditions, and after a good deal of negotiation I was able to finalise the matter. The question involved was not that of placing the collection in Auckland, but of getting it retained in the Dominion. Having reached this position, the problem was to get the money, and a suggestion which had been made to raise funds through one of the alluvial gold art unions was recalled. Under the terms of license for one of these recent art unions, a way to procure the money was found, though it had to be paid to some institution, and not to any individual. The National Art Gallery and Dominion Museum trustees agreed to act as the medium of purchase, and the payment to Mr Peat comes through that source.The Vendor's Stipulations."In Mr Peat's contract with the trustees," continued the Minister, "he makes the condition that the whole of the kauri gum collection must be kept intact, and designated: 'The F O Peat Kauri Gum Collection.' It was only on these terms that I was able to secure the retention of the collection in the country. Mr Peat, realising the national interest and value of his collection, stipulated that it should go to the Dominion as a national exhibit, not as an Auckland exhibit."Then there is a further contract executed between myself and the trustees of the National Art Gallery and Dominion Museum, which vests in myself the absolute power to decide the distribution of the whole collection, subject to the condition set out in the principal agreement that the gum specimens are to be kept together. The original contract also stipulates that until such time as the trustees are able to house any part of the collection in the new museum, the building contract for which has been let, safe storage will be provided in 'The Treasure House,' a fireproof museum at Titirangi, owned by Mr Peat, who is empowered to make a charge for admission as in the past. He undertakes to insure the collection for £3000, at his own expense. I have undertaken, in due course, to visit the collection and decide its allocation. This decision has to be made by me personally, so that no question could arise at any future time as to the intentions of the original owner and the terms mutually accepted under which the collection became available to the Dominion at a lower price than that offered for sale to an outside buyer."I intend to carry out this obligation in conjunction with experts from the National Art Gallery and Dominion Museum, and the Auckland War Memorial Museum, subject to Mr Peat's conditions in the original contract of transfer, and the agreement between the trustees of the former institution and myself. I am at once arranging for the whole collection to be scheduled and described, for there is a good deal of interesting history associated with some of the exhibits, and Mr Peat's services in this connection are being employed. Finally, when the national institution is able to house the kauri gum collection, the whole of the exhibits will be distributed according to the allocation which I have to make, and Mr Peat will provide packing materials and give his services without salary to arrange the kauri gum collection in Wellington.
Auckland Star 24 April 1933
THE PEAT COLLECTION.The Hon. J A Young tells us nothing new—we have heard all about the American millionaire. In his keen desire for the promotion of science, the honourable gentleman finds no difficulty in writing a cheque for £3000 and presenting a collection of gum to the Wellington Museum. When people are hungry a political transaction of this character is absolutely unjustified. If there is money to give away in the interests of science, why does the Government cancel the grant to the New Zealand Institute, so that it is almost impossible to carry on? This Dominion-wide organisation has always hitherto been able to publish the only scientific research journal of any moment in this Dominion, but the annual grant of £1500 has been wiped out, and a sort of ex-gratia payment of £450 made. The Government should have allowed the American gentleman to have the gum and the money should have been spent on scientific research, which is essential to the farmer's existence. H. E. VAILE.
Auckland Star 27 April 1933
The Minister went ahead and allocated the £3000 from the Great Easter Art Union proceeds towards the National Art Gallery and Dominion Museum obtaining the Peat Collection in May 1933.
In June 1936, Peat applied to the Rotorua Borough Council to have the sub-lease for Nuku Te Apiapi, a Maori meeting house built from 1873, and lease from a trust by the Council from 1932. He intended to use it to house his Maori curios. He took over the lease in 1938, according to historian D M Stafford in The New Century in Rotorua (1988), leased the collection to the Rotorua Council 1940 with right of purchase after two years, and that part of his collection is apparently now housed in the Rotorua Museum at the old bathhouse and sanatorium.
The kauri gum did at least initially end up at the Dominion Museum.
Display cases in the Dominion Museum, Buckle Street, Wellington, circa 1936. Photographer unidentified. Reference Number: PAColl-6301-39, National Library.
The display of kauri gum is the largest and probably the most valuable in the world. It comprises 1600 pieces, collected by Mr F O Peat, of Titirangi. The exhibits are displayed in 10 cases, mounted on four tables, and are allotted a gallery to themselves.
Auckland Star 1 August 1936
But, Dargaville claims to have at least part of his gum collection. According to the Kaipara Lifestyler (28 April 2011): "Gained with financial help from Dargaville Rotary in 1978, it totals 400 golden samples, large and small, out
of Peat's collection of 1,600 pieces."
So ... where are the other 1200 pieces?
OBITUARYMR FRANK O PEATThe death occurred at his residence, Godley Road, Titirangi, of Mr Frank Oscar Peat, second son of the late Mr R B Peat. He was born in Auckland 63 years ago, and after being apprenticed as a watchmaker and jeweller with Messrs Page and Spencer, of Auckland, established himself in business in Dargaville and subsequently at Rotorua, He was a recognised authority on ancient Maori art and kauri gum specimens, and had one of the finest collections of greenstone, Maori carvings and kauri gum in New Zealand, A portion of his collection is now in the Dominion Museum, Wellington, and a further section in the Town Hall, Rotorua. Through his efforts, many priceless ancient Maori treasures have been preserved for the benefit of the people of the Dominion, His works of art attracted visitors from all parts of the world. Mr Peat, who was appointed a justice of the peace in 1935, had lived in semi-retirement over recent years. He is survived by his wife, a son and a daughter and two grandchildren.
Auckland Star 29 November 1945
Update, 1 December 2016 -- I received this info today in an email from the Rotorua Museum:
"The remains of Frank Peat's collection are at Rotorua Museum. We still have a large collection of kauri gum, taonga Maori, artworks, prints and natural history specimens. After the Treasure house at Whakarewarewa was closed, Frank sold his collection to the Rotorua Borough Council who set up a museum in 1940. It contained mainly the Peat collection with a small collection of other objects. We have some photographs of that museum, and are currently linking the objects in those photos with our database records so we can identify them as the Peat collection."


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Before I continue down this path of posting under this heading, here is the disclaimer (it won't be like the disclaimer you've seen on drug commercials, you know, "heart palpitations, irritability, fatigue, chronic dizziness, anal leakage or sudden death:quite frankly if I'm going to suffer from anal leakage, just kill me now!). The disclaimer for this part of How to be a famous comedian, is that there is no guaranteed path to fame and "fame" is defined by what level of fame you need to achieve to attain your own personal success. If your only goal is household-name-fame, then you better think about another line of work, because the odds are incredibly stacked against you in show business.
However, you can achieve a level success in the comedy business, which is why I call this: How To Be A Famous Comedian. It's all based on hard work, raw honesty and perseverance. It's a process and it happens in steps. One of those steps just happened to one of my students, Chris Rubiez. He's a very talented young man who had never done stand up before. He's an excellent writer and a good actor.
He came to the class, learned the fundamentals of comedy structure:and if you've seen my blogs or attended my lectures or my classes, you know comedy structure is CRUCIAL. If you're reading this for the first time let me quickly say that comedy structure doesn't detract from the creativity, it enhances it. But without structure, you have no surprise and therefore no laughter.
Chris, came to the class with some material that I was not a big fan of. His whole act was bout him in the bathroom. Now, to be honest, there is nothing wrong with that, but it narrows your audience tremendously and is usually frowned upon by industry. It's called "scat" (which is short for scatological) and doing it will not help you if you're reading this to learn how to be a "famous" comedian.
I suggested that he really dig deep and think of other obstacles in his life that he faces. He took the suggestion and kept writing. Through trial and error and hard work (there's that word again!), Chris developed a funny act that revealed some personal struggles he'd been going through. The key is, he made his story FUNNY using comedy structure and since it was about himself, he stayed absolutely true to himself. His persona and individuality shined through.
Chris recently appeared at the Comedy Store in the Mainroom on a Friday night. Prior to the appearance, he came by my class again to get a 'brush-up' and do some final tweaks.
Where am I going with this and what does this have to do with finding out how to be a famous comedian? Well, Chris rocked the Comedy Store and an agent was in the room. The agent was so impressed, he asked Chris for a meeting. It was due to hard work, applying the fundamentals of comedy, doing a killer set on stage that got him noticed, which, by the way, is a key step in the process of how to be a famous comedian.
Come take a comedy class! Maybe we can help you on your way too!

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Kahlúa Part III: The Lab! 96.2% Rum
So many pictures from the last week in Mexico with Kahlúa… first the adventures in the rainforest with coffee plants… then a look into the factory with the giant roasting and grinding machines… and this last part was just too amusing to me not to share. You know i love peeking into the labs and scientific parts of these places… sample liquids in plastic water bottles, glass beakers, and all that fun stuff… oh, and getting to taste the 192 proof sugarcane based rum that is blended with the coffee, sugar cane syrup, and more to make Kahlúa. Anyhow, go take a peek inside the lab on the next page!


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Women's Press Club of Toronto Library.
- Book Collection
- 1894-1968
The library of the Toronto Branch of the Canadian Women's Press Club is made up of presentation copies of books written by and donated by the club's members in addition to books published by significant Canadian women writers. There are over 200 books in the collection.
Included are works by such well-known figures as Mabel Dunham, Emily Murphy, Marjorie Freeman Campbell, Lucy Maud Montgomery, and Katherine Hale. Also present are a number of books presented to the club by notable Canadian figures. Included are a copy of John Buchan's The Three Hostages, which he presented on October 23, 1924 "in memory of a delightful visit", Igor Gouzenko's The Fall of a Titan, which contains not only a lengthy presentation inscription but also a sketch done by him, and a signed copy of the first Canadian edition of Mazo de la Roche's Jalna.
Also included are a number of scarce children's stories in a Canadian setting, a copy of The National Ballet autographed by Margot Fonteyn, and an early biographical directory, Morgan's Types of Canadian Women, published in 1903.


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The University of Missouri has been providing teaching, research and service in Columbia since 1839. By 1870, it had become a two campus system encompassing the unique strengths of the School of Mines and Metallurgy in Rolla. By 1963, the University had expanded its service to the state by adding locations at St. Louis and Kansas City. Since that time, these four unique locations have developed and adopted business processes and technology in very individual ways. Today, we have four strong campuses using a variety of business processes and technologies for our administrative tasks. In an age where technology is finally capable of serving the needs of a broad audience, the Operational Excellence Initiative (OEI) is dedicated to aligning the core business processes of our campuses, finding and implementing technology that supports a streamlined process, and reducing the complexity and costs of supporting four, unique campuses.
Using the foundational principles of shared services, the OEI has helped the University of Missouri Enterprise seek administrative excellence in order to allow faculty and staff at our four campuses to focus on the goals of teaching, research, and service through their unique and strong traditions of excellence.
Reviewed 2024-03-13


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A-Debate - U-Turn on Addictions (Final ALICE RAP Policy dialogue)
Barcelona and online, 17th-18th February 2016
ALICE RAP hosted an on-site and on-line final debate to present and discuss key research findings coming out of the project, their policy implications and the science with the greatest potential to contribute to smart and evidence-based global drugs policy. High-level scientists, policy actors from national and international organisations and expert civil society actors participated in the event, which is expected to shape the messages from multidisciplinary addiction science for drug policy influencers and implementers.
17/3/2016 The A-Debate Science Summary has been finalised
A report evaluating the A-Debate is now available
Discussions were stimulated by short scientific presentations on key topics:
Opening Session: Introduction to the A-Debate science |
Moderators: Peter Anderson and Toni Gual |
SESSION 1: Why worry about addictions? |
Chair: Cees Goos |
SESSION 2: Active agents in our addiction |
Chair: Peter Anderson |
SESSION 3: Addiction – a chameleon concept |
Chair: Virginia Berridge |
SESSION 4: Commercialization of addictive products |
Chair: Ian Gilmore |
SESSION 5: Heading off harm: Pathways, potency and policy |
Chair: Robert West |
SESSION 6: Strengthening prevention and treatment |
Chair: Toni Gual |
SESSION 7: Using the tools of science to govern addictions |
Chair: Franz Trautmann |
CLOSING SESSION: Reframing addictions – Where do we go from here? |
Moderator: Franklin Apfel |
Download the A-Debate speakers' short biographies
Promotional video:
Featured posters:
- Drug policy and addiction science in 2016
- ALICE RAP Science Findings poster (for the complete collection of science findings click here)


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Learning new skills is one of the best ways to make yourself both marketable and happy, but actually doing so isn't as easy as it sounds. The science behind how we learn is the foundation for teaching yourself new skills. Here's what we know about learning a new skill.
Our brains are still a bit of a mystery. We'll likely be learning about how our brain works for years to come, but we are starting to get a better idea of how we learn new things. To that end, let's start by talking about what happens in your brain as you take on a new skillset before moving onto some of the scientifically effective ways to learn.
How Your Brain Changes As You Learn a New Skill
Every time you learn something new, your brain changes in a pretty substantial way. In turn, this makes other parts of your life easier because the benefits of learning stretch further than just being good at something. As The New Yorker points out, learning a new skill has all kinds of unexpected benefits, including improving working memory, better verbal intelligence, and increased language skills.
Likewise, as you learn a new skill, the skill actually gets easier to do. Cornell University explains what's going on:
Specifically, training resulted in decreased activity in brain regions involved in effortful control and attention that closely overlap with the frontoparietal control and dorsal attention networks. Increased activity was found after training, however, in the default network that is involved in self-reflective activities, including future planning or even day dreaming. Thus, skill mastery is associated with increased activity in areas not engaged in skill performance, and this shift can be detected in the large-scale networks of the brain.
Essentially, the more adept you become at a skill, the less work your brain has to do. Over time, a skill becomes automatic and you don't need to think about what you're doing. This is because your brain is actually strengthening itself over time as you learn that skill. Scientific American breaks it all down like so:
Many different events can increase a synapse's strength when we learn new skills. The process that we understand best is called long-term potentiation, in which repeatedly stimulating two neurons at the same time fortifies the link between them. After a strong connection is established between these neurons, stimulating the first neuron will more likely excite the second.
In addition to making existing synapses more robust, learning causes the brain to grow larger. Optical imaging allows researchers to visualise this growth in animals. For instance, when a rat learns a difficult skill, such as reaching through a hole for a pellet of food, within minutes new protrusions, called dendritic spines, grow on the synapses in its motor cortex, the region that allows animals to plan and execute movements.
The more connections between neurons are formed, the more we learn, and the more information we retain. As those connection get stronger, the less we have to think about what we're doing, which means we can get better at other facets of a set of skills.
We're still learning about learning. So, while we can see how learning skills affects the brain, we're still digging into exactly why it happens and all the benefits of doing so. As the old saying goes, practice makes perfect, but how we practice is just as important as if we're practicing.
How You Can Use This Science to Learn Faster
Knowing how your brain adapts to new skills is just part of the process. That knowledge is worthless if you don't know how to apply it. With that in mind, let's dig into some of the tried and true methods of learning new skills as quickly as possible. It's all about boosting your brainpower in one way or another. Thankfully, it's surprisingly easy.
Force Yourself to Learn Without Guides or Help
When we're learning a new skill it's easy to rely on YouTube, tutorials, walkthroughs, and guides to help get the process started. That's great for those beginning days, but if we keep doing that we won't ever actually learn because we're not solving problems on our own.
In order to learn, we need to fail. Science writer Annie Murphy Paul calls this productive failure:
We've heard a lot lately about the benefits of experiencing and overcoming failure. One way to get these benefits is to set things up so that you're sure to fail — by tackling a difficult problem without any instruction or assistance. Manu Kapur, a researcher at the Learning Sciences Lab at the National Institute of Education of Singapore, has reported (in the Journal of the Learning Sciences) that people who try solving maths problems in this way don't come up with the right answer — but they do generate a lot of ideas about the nature of the problems and about what potential solutions would look like, leading them to perform better on such problems in the future. Kapur calls this "productive failure," and you can implement it in your own learning by allowing yourself to struggle with a problem for a while before seeking help or information.
Take the example of learning the guitar. You can easily hunt down the tablature for "Paint it Black" online, but that's not going to help you learn the actual sound of each chord you're playing. Instead, try to figure it out on your own instead of seeking out the answer. This is essentially learning by trial-and-error, which is frustrating, but works really well. The same goes any number of other skills. Sure, sometimes you need to break down and search for a solution, but you're going to be better off if you don't.
Spread Out Learning Over Time
When we're picking up a new skill or learning something entirely new, it's easy to binge-learn and obsessively work on it over time. However, that's not always the best idea. In fact, spreading out learning, also known as distributed practice, is thought to be a better way to learn. A review of studies in Psychological Science in the Public Interest found that spreading out learning is far more effective than cramming:
Dunlosky and colleagues report that spreading out your studying over time and quizzing yourself on material before the big test are highly effective learning strategies. Both techniques have been shown to boost students' performance across many different kinds of tests, and their effectiveness has been repeatedly demonstrated for students of all ages.
"I was shocked that some strategies that students use a lot — such as rereading and highlighting — seem to provide minimal benefits to their learning and performance. By just replacing rereading with delayed retrieval practice, students would benefit," says Dunlosky.
Distributed practice is an old technique, but it actually works really well for the busy lives most of us lead. Instead of sitting down for hours on end to learn a skill, distributed practice is all about shorter, smaller sessions where you're stimulating the link between the neurons more often throughout time. So, instead of trying to learn a skill by taking an hour long class every night, give yourself a lot of time overall, and small chunks throughout the day. Heck, even 15 minutes a day to spend on projects is enough for many of us.
Choose Your Study Time Wisely
You wouldn't think it, but when you study or practice is just as important as how. The body's internal clock is tuned to work better during certain points in the day, and that goes for learning as well. According to one study published in the journal PLOS One, we learn best when we do so before sleep.
The study found that subjects who went to sleep right after learning something did significantly better in a series of memory tests. We've seen this before with naps, and know that sleep has a big impact on memory retention in general. Basically, when you learn a new skill before bed, you're helping fortify the link between the neurons in your brain. This means you retain information better.
Apply Your Skills Every Day
We're big proponents of experiential learning here at Lifehacker, and that's because it's often the best way to learn the types of skills we talk about here. The more you can apply what you're learning to your every day, the more it'll stick in your head.
The reason is simple. When you're learning by doing, you're implementing everything that makes our memory work. When you're able to connect what you're learning with a real world task, that forms the bonds in your brain, and subsequently the skills you're learning will stick around. This is especially true with learning a foreign language, where application is the key to learning quickly.
You can do this in a number of ways. For some skills, like music, deliberate practice is a way to be more mindful of what you're doing so you can actually improve. Deliberate practice is all about tracking what you're learning, focusing on short learning sessions, and practicing as smart, not hard.
Just like memory, we learn best when we have context, and that applies to new skills as much as it does random facts in school. That's why something like the transfer of learning is helpful when your learning a new skill. This means you're applying your new skills in your day to day life in a context that matters. For example, if you're learning about mathematics, make sure you find a way to work that into your daily life, even if it's as simple as figuring out your gas mileage every day. It's simple, but it's about forming connections in your brain that actually matter to you.
Everyone prefers to learn a little differently, so unfortunately you might need to experiment with different methods as you're taking on a new skill. The above list certainly doesn't include everything, but it's a starting point to learning more effectively. You're bound to hit plenty of barriers along the way, and sticking with it isn't always easy, but the benefits are worth it: a bigger, smarter brain that can process things easily.
Pictures: Vladgrin (Shutterstock), Jean-Etienne Minh-Duy Poirrier, Pierre-Olivier Carles, Harald Groven, PinkMoose


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Back to the Future
"He was never in time for his classess...He wasn't in time for his dinner...Then one day...he wasn't in his time at all." The Back to the Future trilogy is synonymous with great 80's movies. The major characters throughout the series were Michael J. Fox (Marty McFly), Christopher Loyd (Dr. Emmett "Doc" Brown), Lea Thompson (Lorraine Baines-McFly), Crispin Glover (Geroge McFly), and Thomas F. Wilson (Bill Tannen).
The original Back to the Future was released in 1985. In the movie, Marty McFly's friend, Doc Brown, has created a time machine fashioned from a Delorean DMC-12. The plutonium powered machine supplies 1.21 gigawatts of power to its Flux Capacitor, which essentially makes time travel possible at 88 MPH. To illustrate, Brown enters 1955 into the machines computer, but before he could make his trip, Libyan terrorists showed up to kill him (he stole the plutonium from them). During the fray, Marty tries to escape in the Delorean, and once the car hits 88 MPH, he is transported to 1955.
In 1955, there is no plutonium, and he must find a way to power the time machine back to 1985. In the mean time, Marty has accidentally interfered with the fateful meeting between his father and mother, and instead his mother (Lorraine) becomes infatuated with him instead of his father, George. The rest of the movie revolves around Marty's attempts to re-engage the magic between George and Lorraine, while working with the 1955 version of Doc Brown to find away to harness the power of a lighting strike to power the time machine.
After successfully making it back to 1985, Marty finds that his time travel efforts have not only saved his life, but also the life of Doc Brown and the quality of his family's lives. The movie ends with Doc coming back to 1985 from the future, with a message to Marty that he must travel to the future to deal with a problem with his children.
Back to the Future II was released in 1989. Picking up where the first one left off, Marty and his girlfriend travel to 2015 where Marty buys a sports almanac, with the hopes of betting on sports when he returns to 1985, that ends up in the hands of Biff Tanner. The rest of he movie is about how they get the almanac back from Biff and save the future (and the past). The movie ends with a malfunction sending Doc to 1885, and Marty back to 1955.
Back to the Future III, released in 1990, has Marty once again setting out to enlist the help of the 1955 Doc Brown to save the 1985 Doc Brown from 1885. What? Marty finds he must travel himself to 1885 to save Doc's life (Biff Tannen's Great Grandfather has it out for Doc). Doc Brown, who has fallen in love, chooses to stay in 1885 after finding a way to use a train to push the busted Delorean to 88 MPH. The movie ends with Marty back in 1985, and Doc returning to 1985, with his new wife, in a time traveling train.


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smartdept. inc. gets smart(er)
We've made some changes at smartdept. inc., and we're so happy about them, we want to shout from the rooftops. Or at least here in this blog post.
We're so pleased with these tweaks, we've taken to calling ourselves the smart(er)dept. inc. And when we're that proud of something, we figure it's wise to let people know what we're up to. So, after emailing our key contacts the following news, we lifted the juiciest bits and plunked them into this blog post. (Bonus: referring people to this post may help keep our smarties from getting hoarse when talking with candidates or clients.)
Here are a handful of changes we think you should know about!
Improved Candidate Benefits – We've changed our Blue Cross and Blue Shield healthcare enrollment waiting period to 90 days, down from 12 months. I think it goes without saying when it comes to healthcare, offering it sooner is smart(er). We also offer 401(k) through Merill Lynch, but we've been doing that for a while now.
Organizational Changes – We've added both speed and power to the lineup! April Levins has joined our team as Accounting and Operations Manager. She is diligently working to improve many of our internal processes. Mindy Marvin has also joined our team as National Director of Sales and Strategy. Mindy is working alongside us to help grow our national presence and create strategies to support our growth.
Electronic Timecard and Approval System – Okay, so it's not that revolutionary. But, technically, it does make us smart(er).
Recruiting Philosophy – We've changed our recruiting philosophy, too. I KNOW! Under this updated model we offer the same boutique approach to service locally, while adding the ability to source and recruit nationwide. (Yup, we're fancy.)
smartdept. inc. Strategy – If explained in detail, this would most likely draw a close comparison to the effects of tryptophan on Thanksgiving Day. Just trust me, it's smart(er).
If you'd like to find out more about how we've gotten smart(er), feel free to drop us a line at email@example.com. I'm confident that the minutes we spend together will be a wise investment of your time (see how I didn't use the term smart(er) there).


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All Starter Kits Include: 1 Small Pad, 1 Medium Pad & 1 Large Pad
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Whether you're looking to increase energy, support your immune system, or balance hormones, we've got a healthy and delicious tea for you! Need an infuser to brew loose leaf tea? Add two or more teas to cart with a stainless steel tea infuser, enter code "freeinfuser" at checkout, and your infuser will be free!
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text: In order to support the data being generated by local microarray, proteomics, immunohistochemistry, and other experiments, we are developing and using SBEAMS (Systems Biology Experiment Analysis Management System), a framework for collecting, storing, and accessing data produced by a wide variety of experiments. The Systems Biology Experiment Analysis System provides a customizable framework to meet the needs of modern systems biology research. It is composed of a unified state-of-the-art relational database management system (RDBMS) back end, a collection tools to store, manage, and query experiment information and results in the RDBMS, and a web front end for accessing these tools.


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Suite 3100
Chicago, IL 60601
United States
- Telephone +1 312.456.8400
- Fax +1 312.456.8435
Greenberg Traurig's Chicago office strives to be as dynamic and diverse as the city it calls home. Since its inception in 1999, it has grown from three attorneys to nearly 200 today. Lawyers in the Chicago office represent a wide range of clients, from Fortune 500 companies to innovative start-ups, and practice in nearly every major practice area and industry. Offering local knowledge and broad experience, Greenberg Traurig's Chicago lawyers work with their colleagues in Greenberg Traurig's strategic network of offices in the United States and abroad to help clients achieve their objectives locally, nationally, and globally.
Contact Us
For more information about our Chicago office, please feel free to reach out to our Chicago office contacts.
Community & Civic Involvement
We are committed to the community where we live and work, providing pro bono legal assistance and financial support to numerous local and national charitable organizations, including:
- Alzheimer's Association
- Ann & Robert H. Lurie Children's Hospital of Chicago
- Anti-Defamation League of Greater Chicago
- Chicago Children's Museum
- Chicago Committee
- Equality Illinois
- Good Sports
- HFS Chicago Scholars
- Illinois Holocaust Museum & Education Center
- Jewish Federation of Metropolitan Chicago
- Lawyers for the Creative Arts
- Legal Aid Chicago
- Legal Aid Society of Metropolitan Family Services
- Leukemia and Lymphoma Society
- National Immigrant Justice Center
- Public Interest Law Initiative
- Ravinia
- Response
- The Ireland Funds
- The Salvation Army
- Shirley Ryan Ability Lab
- Women's Bar Foundation
Chicago Career Opportunities
Our culture of empowerment is a natural fit for individuals who are eager to create their own opportunities and have proven track records of success in areas that excite them. Explore career opportunities at GT.


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The amcostestimate function is given a list of WHERE clauses that have been determined to be usable with the index. It must return estimates of the cost of accessing the index and the selectivity of the WHERE clauses (that is, the fraction of parent-table rows that will be retrieved during the index scan). For simple cases, nearly all the work of the cost estimator can be done by calling standard routines in the optimizer; the point of having an amcostestimate function is to allow index access methods to provide index-type-specific knowledge, in case it is possible to improve on the standard estimates.
Each amcostestimate function must have the signature:
void amcostestimate (PlannerInfo *root, IndexOptInfo *index, List *indexQuals, Cost *indexStartupCost, Cost *indexTotalCost, Selectivity *indexSelectivity, double *indexCorrelation);
The first four parameters are inputs:
The planner's information about the query being processed.
The index being considered.
List of index qual clauses (implicitly ANDed); a NIL list indicates no qualifiers are available. Note that the list contains expression trees, not ScanKeys.
The last four parameters are pass-by-reference outputs:
Set to cost of index start-up processing
Set to total cost of index processing
Set to index selectivity
Set to correlation coefficient between index scan order and underlying table's order
Note that cost estimate functions must be written in C, not in SQL or any available procedural language, because they must access internal data structures of the planner/optimizer.
The index access costs should be computed in the units used by src/backend/optimizer/path/costsize.c: a sequential disk block fetch has cost 1.0, a nonsequential fetch has cost random_page_cost, and the cost of processing one index row should usually be taken as cpu_index_tuple_cost. In addition, an appropriate multiple of cpu_operator_cost should be charged for any comparison operators invoked during index processing (especially evaluation of the indexQuals themselves).
The access costs should include all disk and CPU costs associated with scanning the index itself, but not the costs of retrieving or processing the parent-table rows that are identified by the index.
The "start-up cost" is the part of the total scan cost that must be expended before we can begin to fetch the first row. For most indexes this can be taken as zero, but an index type with a high start-up cost might want to set it nonzero.
The indexSelectivity should be set to the estimated fraction of the parent table rows that will be retrieved during the index scan. In the case of a lossy index, this will typically be higher than the fraction of rows that actually pass the given qual conditions.
The indexCorrelation should be set to the correlation (ranging between -1.0 and 1.0) between the index order and the table order. This is used to adjust the estimate for the cost of fetching rows from the parent table.
Cost Estimation
A typical cost estimator will proceed as follows:
Estimate and return the fraction of parent-table rows that will be visited based on the given qual conditions. In the absence of any index-type-specific knowledge, use the standard optimizer function clauselist_selectivity():
*indexSelectivity = clauselist_selectivity(root, indexQuals, index->rel->relid, JOIN_INNER);
Estimate the number of index rows that will be visited during the scan. For many index types this is the same as indexSelectivity times the number of rows in the index, but it might be more. (Note that the index's size in pages and rows is available from the IndexOptInfo struct.)
Estimate the number of index pages that will be retrieved during the scan. This might be just indexSelectivity times the index's size in pages.
Compute the index access cost. A generic estimator might do this:
/* * Our generic assumption is that the index pages will be read * sequentially, so they have cost 1.0 each, not random_page_cost. * Also, we charge for evaluation of the indexquals at each index row. * All the costs are assumed to be paid incrementally during the scan. */ cost_qual_eval(&index_qual_cost, indexQuals); *indexStartupCost = index_qual_cost.startup; *indexTotalCost = numIndexPages + (cpu_index_tuple_cost + index_qual_cost.per_tuple) * numIndexTuples;
Estimate the index correlation. For a simple ordered index on a single field, this can be retrieved from pg_statistic. If the correlation is not known, the conservative estimate is zero (no correlation).
Examples of cost estimator functions can be found in src/backend/utils/adt/selfuncs.c.


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