On the last day, the Rana feasts his chiefs, and the camp breaks up with the distribution of _khanda nariyal_, or swords and coco-nuts, to the chiefs and all “whom the king delighteth to honour.” These _khandas_ are but ‘of lath,’ in shape like the Andrea Ferrara, or long cut-and-thrust, the favourite weapon of the Rajput. They are painted in various ways, like Harlequin’s sword, and meant as a burlesque, in unison with the character of the day, when war is banished, and the multiplication,[4.21.31] not the destruction, of man is the behest of the goddess who rules the spring. At nightfall, the forty days conclude with ‘the burning of the Holi,’ when they light large fires, into which various substances, as well as the crimson _abira_, are thrown, and around which groups of children are dancing and screaming in the streets like so many infernals. Until three hours after sunrise of the new month of Chait, these orgies are continued with increased vigour, when the natives bathe, change their garments, worship, and return to the rank of sober citizens; and princes and chiefs receive gifts from their domestics.[4.21.32] =Chait.=—The first of this month is the Samvatsara (vulg. Chamchari), or anniversary of the death of the Rana’s father, to whose memory solemn rites are performed both in the palace and at Ara, the royal cemetery, metaphorically termed Mahasati, or place of ‘great faith.’ Thither the Rana repairs, and offers oblations to the _manes_ of his father; and after purifying in the Gangabheva, a rivulet which flows through the middle of ‘the abode of silence,’ he returns to the palace.