Professor Moseley[41] records that the same form of painting is to be seen in the case of Japanese children on festive occasions, for after they have been elaborately dressed by their parents they are further adorned with one or two transverse and narrow streaks of bright red paint, leading outwards from the outer corners of their eyes, or placed near to that position. The style is the same as that which survives in the case of adults on the stage. Professor Moseley brings forward a further case showing that such a form of painting possibly existed in ancient times in China. When a man of distinction died in China in former times, a certain number of servants were sacrificed at his burial. Now, figures made of pasteboard and paper, about three feet or so high, are burnt instead at the funeral service in small furnaces provided for the purpose in the temples, together with cartloads of similar pasteboard gifts which are sent by the survivors for the use of the dead in the next world. Earthenware figures were similarly buried with great men in old times in Japan, and we may compare with these customs that of the Egyptians who buried models of servants, as mentioned on page 268, in the graves of their dead. The pasteboard heads of these funeral servants and retainers are painted with streaks, some of which are put on in almost exactly the same style, at the angles of the eyes, as those of modern Japanese actors. It seems a fair conjecture that the streaks on these heads are a direct survival of an actual former savage form of painting which was once in vogue in China, and probably used to make fighting men hideous. It is well known that primitive customs survive in connection with funerals all over the world with extreme tenacity. The numerous interesting survivals existing in the case of English funerals are familiar. We give a figure taken from the head of a Chinese servant, which Professor Moseley bought at a manufactory of funeral properties in Hong Kong. (See Plate X, Figure C.) With regard to the ordinary use of paint by women in China and Japan, Professor Moseley points out that it is entirely different in principle from that in vogue in Europe. He says: "The use of paint as an ornament in China and Japan seems to me to be of considerable interest. In both countries the women regularly paint their faces when in full dress, of which the paint is a necessary part. "The paint is not put on with any idea of simulating a beauty of complexion, which might be present naturally, or which has been lost by age. The painted face is utterly unlike the appearance of any natural beauty.