Though Mangku Buwono I. was a contemporary of Goethe, his knowledge of _Faust_ is extremely doubtful, but being an artist in his own way, he took care that the natural scenery, assisted by art, should contribute to a pleasant general impression in the distribution of the dwellings for his retinue: native princes (and of his rank too!) do not move an inch inside or outside their _kratons_ without numberless attendants at their heels. In the “water-castle” were apartments, not only for the Sooltan, for the Ratu, his first legitimate spouse, for his other wives and concubines, for the little family they had presented him with, but for the dignitaries of his Court, officials of all degrees, secretaries, servants of every description, various artificers from the armourers down to the _kebon kumukoos_, the makers of _tali api_ (fire-rope), necessary for lighting his Highness’ cigars. There were reception-, dining-, living- and sleeping-rooms for the Sooltan, his Ratu and female relatives, each apart; common rooms for the _selir_ (wives of lower degree); rooms for the instruction of their children; rooms where his Highness’ daughters spent a few hours every day in _batikking_; guard-rooms for the _prajurits_, the male guards; guard-rooms for the female guards under command of the Niahi Tumanggoong, a lady of consequence, who kept and keeps the _dalam_, the interior of the _kraton_, under constant observation so that no illicit _amourettes_ shall occur in the women’s quarters, and yet--! There were store-rooms, kitchens, workshops, prisons, halls set apart for the dancers, male and female; the cream of the female dancers, the _srimpis_ and girl _bedoyos_, were probably housed in or near the principal pavilion on Pulu Kananga, of which the Sooltan occupied the eastern and the Ratu the western portion. Above all there were the bath-rooms, dedicated to Kama and his wife Rati of Hindu memory; and since the parrot is the _vahana_ of that frivolous god, many are the unspeakable tales of revived rites of his luxurious worship.