right, then towards the left, and finally into the sitter's lap. The "Neutralising Paste" [616] is then brought and the usual leaf-brush dipped into the bowl of paste, with which the forehead of the sitter and the back of each hand are duly "painted." A pinch of the henna is then taken and dabbed upon the centre of each palm, the hands of the sitter being turned over to enable this to be done. The sitter then salutes the guest by raising his (or her) hands with the palms together before the breast in an attitude of prayer; the guest replies by a similar action, and the ceremony is at an end. The same operation is performed by from five to seven, or even nine, relations (Orang Waris, lit. "Heirs,") the last operator concluding with an Arabic prayer. While this ceremony is proceeding inside, music strikes up and a special dance, called the Henna Dance (menari hinei), [617] is performed, a picturesque feature of which is a small cake of henna, which is contained in a brazen cup (gompong hinei) and surrounded by candles. This cup is carried by the dancer, [618] who has to keep turning it over and over without letting the candles be extinguished by the wind arising from the rapid motion. The step, which is a special one, is called the "Henna-dance Step" (Langkah tar' hinei, i.e. tari hinei), and the tune is called the "Henna-staining tune" (Lagu berhinei). This ceremony over, the "henna-staining" rice (nasi berhinei) is partaken of by those present, the remainder being distributed to the guests engaged in "main zikir." On the third night the same ceremonies are repeated without variation. On the fourth morning, called the "Concluding Day" (Hari Langsong), everybody puts on his finest apparel and jewellery.