In order to wipe away the traces of the morning's perplexities from our minds, Sham Rao invited us to sit on the verandah, by the wide entrance of his idol room, whilst the family prayers were going on. Nothing could suit us better. It was nine o'clock, the usual time of the morning prayers. Sham Rao went to the well to get ready, and dress himself, as he said, though the process was more like undressing. In a few moments he came back wearing only a dhuti, as during dinner time, and with his head uncovered. He went straight to his idol room. The moment he entered we heard the loud stroke of a bell that hung under the ceiling, and that continued tolling all the time the prayers lasted. The Babu explained to us that a little boy was pulling the bell rope from the roof. Sham Rao stepped in with his right foot and very slowly. Then he approached the altar and sat on a little stool with his legs crossed. At the opposite side of the room, on the red velvet shelves of an altar that resembled an etagere in the drawing-room of some fashionable lady, stood many idols. They were made of gold, of silver, of brass and of marble, according to their im-portance and merits. Maha-Deva or Shiva was of gold. Gunpati or Ganesha of silver, Vishnu in the form of a round black stone from the river Gandaki in Nepal. In this form Vishnu is called Lakshmi-Narayan. There were also many other gods unknown to us, who were worshipped in the shapes of big sea-shells, called Chakra. Surya, the god of the sun, and the kula-devas, the domestic gods, were placed in the second rank. The altar was sheltered by a cupola of carved sandal-wood. During the night the gods and the offerings were covered by a huge bell glass. On the walls there were many sacred images representing the chief episodes in the biographies of the higher gods. Sham Rao filled his left hand with ashes, murmuring prayers all the while, covered it for a second with the right one, then put some matter to the ashes, and mixing the two by rubbing his hands together, he traced a line on his face with this mixture by moving the thumb of his right hand from his nose upwards, then from the middle of the forehead to the right temple, then back again to the left temple. Having done with his face he proceeded to cover with wet ashes his throat, arms, shoulders, his back, head and ears. In one corner of the room stood a huge bronze font filled with water. Sham Rao made straight to it and plunged into it three times, dhuti, head, and all, after which he came out looking exactly like a well-favored dripping wet Triton. He twisted the only lock of hair on the top of his shaved head and sprinkled it with water. This operation concluded the first act.