Fans are also made of the sweet-scented Khaskhás root (_Andropogon muricatus_), and as these are generally used after being wetted, they impart to the air a cool fragrance; they are often highly ornamented with gold and silver spangles, gold thread, tinsel, beetles’ wings, etc., and occasionally provided with ivory handles. A pretty example occurs at Kew, where there is an excellent collection of fans made of the various vegetable substances. Fans of talc, decorated with exquisite illumination, were made at Tanjore during the eighteenth century. Specimens occur in the India Museum, South Kensington. [Illustration: PORTION OF AN EMBROIDERED MUSLIN NAPKIN. (Chamba. Nineteenth century.)] Representations of the fan are of constant occurrence in Indian work, both illumination, embroidery, sculpture, and other material. On a curiously primitive embroidered napkin from Chamba, we are introduced to the worship of a Hindu deity—a king and queen are kneeling under a palm-tree, the god Ganesh in the distance with flag-fan; an attendant bears the peacock feather emblem of royalty, a second attendant waves a large heart-shaped fan. On a small mat or pad of enamelled leather (Hyderabad, nineteenth century), we see a whimsical combination of Krishna and his damsels forming the similitude of an elephant, the umbrella, pankhá, and two fly-flappers being in evidence. A beautiful illumination from a MS. copy of the Akbar-Namah, above quoted, shows a prince seated upon his throne in the act of receiving offerings; an attendant waves a fly-flap behind the throne, a second attendant bears one of the large pankhás beautifully embroidered in gold and colours. We are also in another illumination introduced to a beautiful flowered parterre, in which a Mongol princess is seated before a rippling fountain; attendants wait upon her with fruits, vases containing unguents, spices, etc.; behind, a female attendant waves the fly-flap. In the decoration of the entrance gate of the temple at Ajmir, a prince appears in a howdah on the back of an elephant, an attendant sits behind waving a fly-flap, a second flabellifer is seated on the head of the animal; the prince himself holds a small fan in his hand, an attendant on foot bears the pankhá, and another the insignia of royalty. Fair and delicate though these creations of Eastern ingenuity may be, the genius of Oriental imagery and fancy has discovered for us a still more delicate and effective instrument—a Sanskrit poet recounts a graceful fable of a princess of extreme beauty, who, although constantly attending and fanning the divine fire with a view to increasing the prosperity of her father, never succeeded in producing a flame save by the breath of her charming lips. [Illustration] FANS OF THE FAR EAST—_Continued_ CHINA [Illustration: CIRCULAR FAN ‘Like the Moon’ borne by the guard of an Imperial concubine.]