Gokula), and Madanamohanji (the Lord of Lust-illusion)these were procured by the seven grandsons of Vallabháchárya, each having one for himself, and are held in even greater reverence. The five first are now at Sri Náthadwár, Kottá, Kanoja, Kankroli, and Gokula respectively, and the the two last at Jaypora. The Mahárájas are so covetous of possessing these, as well as the others distributed by the Vallabháchárya, that instances are related of their having endeavoured to possess themselves of them by the meanest of actions. One of them, named Girdharji, was, about thirtyfive years ago, convicted of having stolen one from a Vaishnava at Daman. The images are sometimes so small and overloaded with ornaments, that the votaries can see nothing but their lustrous embellishments, which have an attraction of their own, apart from that of the image.

The worship of the images is very sedulously performed, the most devoted homage being paid to them at fixed periods, eight times every day. There are also seasonal festivals, when they are worshipped with more ceremony. On these occasions the image is profusely decorated, and especially in the spring, when it is beautifully adorned with flowers arranged with much taste. According to the nature of the. festival, the image is made to sit on a seat, or is placed in a cradle, or is so disposed as to recline in a swing. The cradles and swings and seats are either of wood or of brass or silver. Crowds swarm to the temples on these occasions, flocking to see the Thákurji in all his glory. At these times the Mahárájas ostentatiously decorate themselves in their gayest attire, that they may attract the attention of female devotees. The following are the eight regular daily services.*

1. "Mangalá, the morning levee: the image being washed and dressed, is taken from the couch, where it is supposed to

In the intervals, or when no particular festival is being celebrated, that part of the temple in which the idol is placed is closed, and the deity is invisible.

have slept during the night, and placed upon a seat, about half an hour after (and during winter about three hours before) sunrise: slight refreshments are then presented to it, with betel and pán. Lamps are generally kept burning during this ceremony.

2. "Śringára: the image having been anointed and perfumed with oil, camphor, and sandal, and splendidly attired, now holds its public court: this takes place about an hour and a half after the preceding, or when four gharis of the day have elapsed.

3. "Gwála: the image is now visited, preparatory to its going out to attend the cattle along with the cowherd: this ceremony is held about forty-eight minutes after the last, or when six gharis have elapsed.

4. "Rája-Bhóga, held at mid-day, when Krishna is supposed to come in from the pastures and dine: all sorts of delicacies are placed before the image, and both these and other articles of food, dressed by the ministers of the temples, are distributed to the numerous votaries present, and not unfrequently sent to the dwellings of worshippers of rank and consequence.

5. "Utthápan: the calling up, or summoning of the god from his siesta: this takes place at six gharis, or between two and three hours before sunset.

6. "Bhóga: the afternoon meal, about half an hour after the preceding.

7. "Sandhya, about sunset: the evening toilet of the image, when the ornaments of the day are taken off, and fresh unguents and perfumes applied.

8. "Shayan, retiring to repose: the image, about seven in the evening, is placed upon a bed, refreshments and water in proper vases, together with the betel box and its appurtenances, are left near it, when the votaries retire, and the temple is shut till the ensuing morning."

* H. H. Wilson's Works,

For the first of these services, in winter, the temple is opened at four o'clock in the morning, when it is quite dark, to give an opportunity to the Maháráj to communicate with his favourite female devotees, who much frequent it at this time. Upon all these occasions the ceremony is much the same, consisting of little more than waving a light, and presenting flowers, perfumes, and food to the image by the priests. At certain seasons the ceremony also includes rocking the swing or cradle of the image, or throwing gulál (red powder) over it.. The votaries, on beholding the image or its lustrous embellishments, do nothing but repeat the name of the idol or Thákurji several times, with a variety of protestations and obeisances. This is the worship. There is no established ritual for general use, nor any prescribed form of worship.

Previously to the opening of the division of the temple where the image of the idol is placed, the Maháráj takes his stand near the image. Here, after the entrance of the votaries, he occasionally swings the image, or waves before it a small metallic lamp, in which burns a light, fed by clarified butter. The Vaishnavas, with their wives and daughters, having previously assembled in the passage, the door is opened, and the crowd rush to enter, crying out Jaya! Jaya! to prevent the doors being closed. The noise and confusion are immense. No time must be lost, for in ten or twenty minutes the doors are again closed. It is impossible all can get into the small room at once, and the weaker of the crowd have to await their turn to enter. To accelerate the devotions of those who have got in, and to induce them to make room for other devotees, who are anxiously waiting outside, one of the guardians of the temple mounts upon a rail, with a thick cord in his hand, to whip them along. Many of the devotees receive a very severe beating; and it has even happened that an eye has been lost or other severe and permanent injuries inflicted. It is cus

tomary for these guardians of the temple to receive a considerable bribe in money to stay them from inflicting this castigation upon persons who can afford to be thus mulcted. But in the event of this douceur not being forthcoming, either from incapacity or unwillingness, the malice of the guardians is exasperated, and they are unmerciful in the application of the cord.

During the four periods of worship in the afternoon, females visit the temples in large numbers; and at these times the crush is fearful and shameful, for males and females are intermixed, and many men who have intruded for vicious and immoral purposes, assault the modesty of females with impunity. The crowd is so dense that, on extraordinary occasions, females are totally denuded of their slight and loose clothing in the crush. The practice, therefore, of permitting men and women to associate promiscuously in the room where the idol is worshipped is highly objectionable. Frequent applications have been made to the Mahárájas to put a stop to these indecent proceedings, but they appear to sanction them by their indifference.

The first duty of the Vaishnavas who come to worship the image is to go to the Maháráj, who is found seated on a raised couch, and to prostrate themselves at his feet. The worshippers place their fingers on the toes of the Maháráj, and then apply them to their eyes. When females touch his toes, the Maháráj, who may have been attracted by one of them in particular, to indicate that he wishes for a further interview, presses her hand, and thus gives her the sign of solicitation. This is considered a high and distinguishing honour it is fully understood and appreciated, and the favour is readily reciprocated. The parties avail themselves of the first opportunity to carry their purpose into effect, and we shall shortly see how readily such an opportunity is obtained. When it is understood that this distinction has

:

a consecrating force, the excuse for infatuated compliance is at once found.

Upon the door of the temple being opened, the musicians and songsters placed there commence a succession of lascivious chaunts, descriptive of Krishna's amorous sport with the gopis. These choristers and musicians occupy a place opposite the image and the Maháráj, but behind the worshippers who throng through the open intervening space. The mode of solicitation by the Maháráj during this worship is the throwing upon the votaries of gulál, a red powder, made of a certain wood ground down; but this is done only in the spring and upon high festivals. In throwing this powder, which is often made up into small balls, the Maháráj aims chiefly at the breasts of the females. It is also customary for him to project a yellow extract obtained from flowers, from a syringe, at the worshippers, and particularly at the females.

Besides the adoration of the image, worship is performed to the Maháráj himself. There are generally eight or ten Mahárájas in Bombay, each having a separate temple, the dimensions of which vary according to the means and influence of the high priest. In one of the apartments of his residence, the Maháráj, during the time that divine honours are paid to him, seats himself on a raised seat. The Bháttiás, the Baniás, the Lohánás, the Multánis, and other persons, are the followers of his religion, and are known as sevakas, or servants. All of them, rich and poor, adore him by saluting his feet; and for a short time after these devotions, the rich or influential are accommodated in the hall, while persons of moderate means are left to shift for themselves in a large public room or courtyard. One apartment of the building known as the zanána-kháná (seraglio) is occupied by the Maháráj's wife and daughters, who never appear in the sight of men: their residence is considered sacred, and only the secakis (female worshippers) have permission to enter it.