In reciting the employments of the Gipseys, their smith’s business was mentioned; when it was remarked, that their anvil is a stone, and what more implements they use consist in a pair of hand-bellows, a pair of tongs, a hammer, a vise, and a file. With such a portable apparatus, the travelling Gipsey wanders from place to place. We will compare this account with what Sonnerat relates of the Indian smiths: the following are his own words: “The smith carries his tools, his shop, and his forge, about with him, and works in any place where he can find employment: he erects his shop before the house of his employer, raising a low wall with beaten earth, before which he places his hearth; behind this wall he fixes two leathern bellows, which his apprentice blows alternately, to keep up the fire. He has a stone instead of an anvil, and his whole apparatus is a pair of tongs, a hammer, a beetle, and a file.” The most striking circumstance relating to this coincidence is, that both Gipsey and Indian should use the same kind of hand-bellows, and both have exactly two. As the apprentice works these for the Indian, so does the wife or one of the children for the Gipsey. What is asserted of the young Gipsey girls, rambling about with their fathers who are musicians, dancing with all kinds of indecent and lascivious attitudes and gestures, to divert any person who is willing to give them a small gratuity for so acting, is likewise perfectly Indian. Sonnerat confirms this also.—“Surat is,” he says, “famous for its dancing girls. These young women devote themselves entirely to the worship of the Gods, whom they attend in the processions, dancing and singing before the representations of them. The handycraftsmen generally destine the youngest of their daughters to this service, and send them to the pagoda before they come to the age of puberty. There they have dancing and music masters, with persons to teach them to sing. The Bramins form their young minds, and deflower them; in the end, they become common prostitutes. They then join in companies, take musicians with them, to entertain any-body who chooses to engage them, with music and dancing.” Sonnerat speaks here likewise of the wanton gestures of these dancing girls, of which he has given a drawing; and ends his description thus: “The blinking of their eyes—half open, half shut—and the negligent sinking of their bodies, to the most languishing music, shew that their whole frame breathes nothing but lasciviousness.”