the left shoulder, twines round the figure, and escapes to flutter in a loose end behind. Glistening with oil, the black hair is parted and hangs down the back in a long plait, weighted with a cluster of gold tassels. The tiny skull-cap is gaily embroidered, and the scented petals of flowers quiver amid the dark tresses. Bracelets load the arms and legs, rings scintillate in the ears and on the fingers and toes, chains dangle from the neck, and an enormous ring depends from the left nostril. During centuries the dances of the Devadasi and Nautch girls have altered little, if at all, and it would be amusing to contrast their methods with the polychromatic lightsome modernity of Loie Fuller, the abrupt conclusions of the "high-kicker," and the prim precisions of the pink-shod pirouetter of the pantomime. Will the Lord Chamberlain permit?
Like the Daimios and Samourai, the sacred Geisha is rapidly becoming a memory only in the Japan of to-day. Nevertheless, the custom of keeping dancing girls in the temples still survives in certain provinces. Quaint because of their solemnity, the religious dances are executed by a number of diminutive maidens under thirteen years of age. Ranged on a platform, these odd little vestals are garbed in a manner which adds considerably to the bizarre effect of the scene. Each wears twelve kimonos, one on top of the other, alternately white and red, the borders showing in regular rows at the throat, and over these is a Court mantle sumptuously embroidered in gold and coloured silks, the back shaped to suggest a chasuble. Divided down the centre in front, the hair hangs in a plait behind, decorated with
