square and worships Gauri and Ganesa, which concluded, his future father-in-law marks his forehead with curds and rice. After this, food (kalewa) is sent from the bride’s house for the bridegroom and the boys with him, and in return his father sends five articles of jewellery for the bride, and a sheet (sâri) for her and her mother. With this is sent the water in which the bridegroom has been bathed. The bride is bathed in this and dressed in the sheet and jewels. The bridegroom then comes to the marriage shed, where his father-in-law washes his feet, and seats him in the square (chauk) on his left hand, while the bride sits on her father’s right hand. The pair then worship the household gods, of whom images are made in dough, and both mark the water jar and the branch of the cotton tree with red lead. Their clothes are knotted together, and they do the usual five revolutions round the cotton tree, while the bridegroom holds a winnowing fan (sûp) into which the bride’s brother pours a little parched rice each time as they go round. The bride sprinkles this grain on the ground out of the fan, and both retire into the retiring room (kohabar), the walls of which are decorated. There his mother-in-law takes off the bridegroom’s crown (maur) and gives him a present. Next day follows the confarreatio ceremony (khichari), which is done in the usual way. Next day the bridegroom takes home his bride, but before he starts his father goes and shakes down one of the poles of the marriage shed, for which he gets a present (mânro hilâi). On the fourth day after they return the ceremony ends by the barber’s wife taking the sacred jar (kalsa) and the festoons (bandanwâr) of the marriage shed, and throwing them into a neighbouring stream. On their return husband and wife offer a burnt sacrifice (homa) to the local gods (dih).