of the organs, causes the metal ball (or the quicksilver) to roll, and the resulting vibration produces a prolonged voluptuous titillation, a gentle shock as from a weak electric inductive apparatus; the balls are called _rin-no-tama_, and are held in the vagina by a paper tampon. The women who use these balls delight to swing themselves in a hammock or rocking-chair, the delicate vibration of the balls slowly producing the highest degree of sexual excitement. Joest mentions that this apparatus, though well known by name to ordinary girls, is chiefly used by the more fashionable _geishas_, as well as by prostitutes. Its use has now spread to China, Annam, and India. Japanese women also, it is said, frequently use an artificial penis of paper or clay, called e.g.. Among the Atjeh, again, according to Jacobs (as quoted by Ploss), the young of both sexes masturbate and the elder girls use an artificial penis of wax. In China, also, the artificial penis--made of rosin, supple and (like the classical instrument described by Herondas) rose-colored--is publicly sold and widely used by women.[190] It may be noticed that among non-European races it is among women, and especially among those who are subjected to the excitement of a life professionally devoted to some form of pleasure, that the use of the artificial instruments of auto-erotism is chiefly practiced. The same is markedly true in Europe. The use of an artificial penis in solitary sexual gratification may be traced down from classic times, and doubtless prevailed in the very earliest human civilization, for such an instrument is said to be represented in old Babylonian sculptures, and it is referred to by Ezekiel (Ch. XVI. v. 17). The Lesbian women are said to have used such instruments, made of ivory or gold with silken stuffs and linen. Aristophanes (_Lysistrata_, v. 109) speaks of the manufacture by the Milesian women of a leather artificial penis, or olisbos. In the British Museum is a vase representing a _hetaira_ holding such instruments, which, as found at Pompeii, may be seen in the museum at Naples. One of the best of Herondas's mimes, "The Private Conversation," presents a dialogue between two ladies concerning a certain olisbos (or nbôn), which one of them vaunts as a dream of delight. Through the Middle Ages (when from time to time the clergy reprobated the use of such instruments[191]) they continued to be known, and after the fifteenth century the references to them became more precise. Thus Fortini, the Siennese novelist of the sixteenth century, refers in his _Novelle dei Novizi_ (7th Day, Novella XXXIX) to "the glass object filled with warm water which nuns use to calm the sting of the flesh and to satisfy themselves as well as they can"; he adds that widows and other women anxious to avoid pregnancy availed themselves of it. In Elizabethan England, at the same time, it appears to have been of similar character and Marston in his satires tells how Lucea