the ghí, he makes three oblations, by pouring each time a ladleful of butter upon the fire, saying, "Earth! be this oblation efficacious. Sky! be this oblation efficacious. Heaven! be this oblation efficacious." Such is the Hóma, or oblation to fire; sometimes performed alone, but always used as an introductory rite to other ceremonies, performed on a variety of occasions by the pious Hindú.-Colebroke, on the religious ceremonies of the Hindu's. As. Res. Vol. vii. No. 8.

In the rules for the performance of this ceremony, no mention is made of the image of the god, to whose honour this is performed; a proof, that the Hóma was anterior in practice to the use of idols, or at least, that the Sastras do not consider them, as even requisite to religious worship. Idols, however, have long formed an essential part of the furniture of every Hindú place of worship, whether public or private; and to prepare them for the purpose of receiving adoration, is one of the principal duties of the priests. For this purpose, previous to the hour of the púja, or public worship at the temples, the idol is bathed with milk or water, especially that of the Ganges, if it can be procured. It is then anointed with butter and odoriferous oils, clad in the most costly robes, and adorned with the richest jewels, the pagoda may

happen to possess. Attendant priests keep off the flies and insects from the honoured god with chouries or flappers, formed either of the white hair of the black Thibet cow, or of peacocks' feathers. The Hóma is then performed, but the consecrated ceremonies are omitted at the temples, since both the area and utensils are there already consecrated. The offerings of worshippers are then made. These consist of rice, butter, camphire, fruit, and flowers, of which, certain sorts are sacred, or appropriated to the deity. These the votaries either bring with them, or purchase of the priests at the temple. In the mean time, the Bayaderas, or dancing girls, move in the sacred dance to the sounds of various instruments, among which, that of the conch, or of the bell, is generally heard. Sometimes the whole assembly moves round the fire and the idol in procession, and the whole ceremony ends with a mantra pronounced by the priest as a benediction.-Ind. Ant. Vol. v. chap. 3.

It may be said to be impossible to enumerate all the different modes of worship prectised by the Hindús. It is not to be doubted, that they vary very much among différent sects; and these, notwithstanding the bigotry of the Hindús, are very numerous. The greater part are termed sradd has, or obsequies, and these, according to the learned

Colebroke, may be classed under the twelve following heads, which may serve to convey an idea of the general objects of Hindu worship. 1. Daily obsequies, either with food, or water only, in honour of ancestors in general, but excluding the Viswédéva. 2. Obsequies for a

special cause, that is, in honour of a kinsman recently defunct. 3. Voluntary obsequies, performed by way of supererogation for the greater benefit of the deceased. 4. Obsequies for increase of prosperity, performed upon any accession of wealth or prosperity, or upon other joyful occasions. 5. A sraddha to sanctify the food at an entertainment given to a company of reverend persons. 6. One performed, when stated numbers of priests are fed at the cost of a person, who needs purification from some defilement. 7. A sraddha preparatory to the celebration of any solemn rite. 8. Srudd has, in honour of deities. 9. Oblations of clarified butter, previous to the undertaking of a distant journey. 10. A sraddha to sanctify a meal of flesh meat, prepared simply for the sake of nourishment.-As. Res. Vol. vii. No. 8.

Processions, in which the images of the deities are conveyed with great solemnity in circuit, to visit holy places, must be reckoned among acts of public worship, paid to the gods of India. The image used on these occasions, is

not always the principal idol of the pagoda, but one of secondary sanctity. It is sometimes conveyed on a machine called a rat'ha, or waggon, often having six or eight wheels, and raised to a great height, by a pyramidal structure of several stories, adorned with paintings and other representations, illustrative of the legendary history of the god. Those rat'has are drawn by the zealous votaries of the god, who consider this service as highly meritorious, and are often so animated by a frenzy of zeal, as to sacrifice themselves, by laying down their heads so as to be mashed by the ponderous rolling wheels. On some occasions, the idols are carried on a stage or platform, resting upon men's shoulders; at others, they are laid in a dóla or palanquin. These processions conduct the idol to visit various temples, tanks, and other sacred places, at certain seasons of the year; and after an absence of sometimes several days, the image is brought back to its former station. (Buchanan's Journey in the Decan, Vol. iii.) It is curious to remark, that no orders, or rules for the performance of these ceremonies, are to be met with in the Védas, nor yet in the Institutes of Ménú; from which, it may be inferred, that they are of a more modern institution than those works; though yet they are probably of great antiquity, since similar rites were practised in ho

nour of the goddess Cybele, by the ancient Greeks of Asia (vid. Mythological Accounts of Cybele-Bell's Pantheon), and in the Lectisternia (vid. Livy, B. v. c. 13. Kennet, Ant. part 2. chap. 18, or Bell's Pantheon) of the early ages of the republic of Rome.

Cailasa. This is a mountain said to be the abode of the god Síva. It is on that account of great celebrity, and, of course, highly adorned and magnified by the Hindú legends. It is said, with the usual extravagance of those compositions, to consist of inestimable gems, and to extend to the length of a hundred Yojánas of eight or nine hundred miles each, and the breadth of fifty. It is generally agreed, that it is situate on the north of Hindúsť'hán, and the name is given by pilgrims, to a mountain or hill of moderate size among the Himalaya tract, and from it issues a stream, said to be the principal, or primary stream of the Ganges.

Cúma is the Cupid or god of love, in the mythology of the Púránas. He is known by various other names, as Smára, Candarpa, Ananga, and others, all significative, like Cáma, of love and desire, or alluding to the powers ascribable to such a deity. This god is most evidently the creature of ingenious allegory; for he is feigned to be the