amazing deeds of derring-do, love and hate, which will remain the wonder of the world. To them the phantom-shadows are reality of happiness in a dull, vexatious life which is but the veil of death. From Java, says Dr. Juynboll, the _wayang poorwa_ was transplanted to Bali, where it is still called _wayang parwa_ and the puppets present a more human appearance. Beside it thrives, especially in Karang Asam, the _wayang sasak_, introduced from Lombok and more Muhammadan in character, whose puppets have longer necks after the later Javanese fashion. Apart from such influences, Balinese art, however, does not disown its Hindu-Javanese origin. The inhabitants of the island, with the exception of the _Bali aga_, the aborigines in the mountains, different in many respects, pride themselves on the name of _wong_ (men of) Mojopahit and adhere to the Brahman religion, though here and there a few Buddhists may be encountered. They are divided into castes and Sivaïte rites play an important part in the religious ceremonial of the upper classes. The common people have adopted a sort of pantheism which makes them sacrifice in the family circle to benevolent and malevolent spirits of land and water, domiciled in the sea, rivers, hills, valleys, cemeteries, etc. The village temples are more specifically resorted to for propitiation of the _jero taktu_, a superior being entrusted with the guidance of commercial affairs and best approached through the guardian of his shrine, who is held in greater respect than the real priests. Every village has also a house of the dead, consecrated to Doorga, a goddess in high repute with those desirous to dispel illness, to secure a favourable issue of some enterprise, to learn the trend of coming events; the heavenly lady enjoys in Bali a far wider _renommée_ than her lord and master Siva, who is honoured in six comparatively little-frequented temples. As to the decadent architecture and excessive ornamentation[105] of the Balinese houses of worship, Dr. Brandes considers both the one and the other a direct outcome of the decay of the eastern Javanese style, exemplified in the _chandis_ Kedaton (1292), Machan Puti,[106] Surawana and Tegawangi. The leading ideas of the _chandi bentar_ or entrance gate, and of the _paduraksa_ or middle gate, adduces Rouffaer, are related respectively to those of the gate Wringin Lawang at Mojopahit and of what the present day Javanese call _gapura_ in sacred edifices as old _kratons_, old burial-grounds, etc.; and to those of the gate Bajang Ratu, also at Mojopahit. These gates Wringin Lawang and Bajang Ratu, states the same authority further, can teach us moreover a few things anent the architecture of the _puris_ (palaces). The temples and princely dwellings of Mataram in Lombok were completely destroyed during the inglorious war of 1894; the country-seat of Narmada, however, a fine specimen of an eastern pleasance, has escaped demolition. For how long?