On a more ceremonious occasion, namely, the reception of the Chinese envoys from the Sui Court, the Chronicles state that Japanese princes and ministers "all wore gold hair-ornaments,* and their garments were of brocade, purple, and embroidery, with thin silk stuffs of various colours and patterns." Costume had become thus gorgeous after the institution of Buddhism and the establishment of intercourse direct with the Sui, and, subsequently, the Tang dynasty. Even in the manner of folding the garments over the breast--not from right to left but from left to right--the imported fashion was followed. Wadded garments are incidently mentioned in the year A.D. 643. *These were called usu. They were, in fact, hairpins, generally shaped like a flower. MUSIC AND AMUSEMENTS It has already been recorded that, in the middle of the sixth century, musicians were sent from the Kudara Court to the Yamato, and since these are said to have taken the place of others then sojourning in Japan, the fact is established that such a visit was not then without precedent. Music, indeed, may be said to have benefitted largely by the advent of Buddhism, for the services of the latter required a special kind of music. The first foreign teacher of the art was a Korean, Mimashi, who went to Japan in A.D. 612, after having studied both music and dancing for some years in China. A dwelling was assigned to him at Sakurai (in Yamato) and he trained pupils. At the instance of Prince Shotoku and for the better performance of Buddhist services, various privileges were granted to the professors of the art. They were exempted from the discharge of official duties and their occupation became hereditary. Several ancient Japanese books contain reference to music and dancing, and in one work* illustrations are given of the wooden masks worn by dancers and the instruments used by musicians of the Wu (Chinese) school. These masks were introduced by Mimashi and are still preserved in the temple Horyu-ji. *The Horyu-ji Shizai-cho, composed in A.D. 747.