with puppets in a doll theater as several of our correspondents have done. To make them represent heroes in history or fiction, to have collections illustrating costumes of different countries, the Eskimo hut, the Indian teepee, the cowboy's log cabin, to take them on imaginary journeys with foreign money, is not merely to keep children young, cheerful, out of bad company, but it is to teach geography, history and morals, nature, etc., in the most objective possible way. Plenty of toy animals, figures representing different vocations and trades, poor and rich, etc., would be not only taking the dolls to kindergarten and school, but would also bring rudimentary sociology, ethics, and science in their most-needed and effective form. Dolls are a good school for children to practice all they know. Children are at a certain period interested to know what is inside things, especially dolls; could not manikin dolls be made that were dissectible enough to teach some anatomy? Would not dolls and their furnishings be among the best things to make in manual training schools; and why are dolls, which represent the most original, free, and spontaneous expression of the play instinct so commonly excluded from the kindergarten, where they could aid in teaching almost everything?

ANTHROPOLOGICAL NOTES

Doctor Gustav Schlegel writes: "Dolls are of recent origin in Europe. In the beginning of the fifteenth century, during the reign of mad Charles VI of France, an Italian, named Pusello, came from Padua to France with thirty mules packed with boxes and hung with jingling bells. He had in these boxes wooden images of ninety-six empresses and other celebrated women of the old Roman Empire, carved after statues and coins. He showed them everywhere, gaining a considerable fortune by their exposition. At last the counselors of the king called him to court in order to amuse His Majesty.

When he came to the explanation of the statuette of Poppæа, who, it is pretended, was killed by Nero by a kick in her belly, the king listened with the greatest attention, and at last bought the statuette of Poppea for fifty Parisians sols, about three hundred francs of present currency. The king's example was soon followed, and every nobleman bought such a little statue; and ever it appears that such pouppées, or dolls, came at that time in vogue as playthings for girls.

"Children in Amoy play with solid puppets made of baked clay, called Hai dzi-a, or 'babies'; and Douglas even quotes the saying Kah na hai dzi-a, equivalent to our saying, 'As fair as a doll,' said of a pretty child.

"Puppets for theatrical performances were long known in China, but from these to the doll as a plaything for little girls is a long distance, and Chinese girls never played with them.

"Probably the doll, as an article to play with for little girls, has been equally imported into Japan by the Dutch."

Dr. J. Walter Fewkes writes: "The Tusayan custom of giving the symbolism of a god to the doll, to which you refer, may be limited to that interesting people, but I suspect that it has a deep significance, and may show a universal relationship between child concepts and primitive social cult development. The Tusayan name for a doll is tihu, personification, not far from eĭdwλov in meaning. A dramatic dance in which gods are personified by men (masked) is spoken of as tihuni,

we personate (gods). I find, in studying the Tusayan calendar, as a whole, that dolls resembling Katcinas 1 are made in Powamu, the February ceremony, as well as at Niman, in July, and presented to the little girls in the same way; never given to boys.

1 Masked figures, or images of them, who take part in the religious ceremonies of the Tusayan or Hopi Indians. Their exact significance is some

what doubtful.

"Just before I left Cambridge last November I installed my collection of Tusayan dolls in the upper story of the Peabody Museum, and if you happen that way, you may find it interesting to see them. A few more were collected last summer, but all duplicates. I noticed last August that one Tusayan child had a China doll hanging to the rafters of her mother's home with her Katcina dolls, and she supposed it represented a Pahano (American) Katcina."

W. E. Griffis, in his "Games and Sports of Japanese Children," says: "On the third day of the third month is held the Hina matsuri. This is the day especially devoted to the girls, and to them it is the greatest day in the year. It has been called in some foreign works on Japan, the 'Feast of Dolls.' Several days before the matsuri the shops are gay with the images bought for this occasion and which are on sale only at this time of year. Every respectable family has a number of these splendidly dressed images, which are from four inches to a foot in height, and which accumulate from generation to generation. When a daughter is born in the house during the previous year, a pair of hina, or images, are purchased for the little girl, which she plays with till grown up. When she is married her hina are taken with her to her husband's house, and she gives them to her children, adding to the stock as her family increases. The images are made of wood or enameled clay. They represent the Mikado and his wife; the kuge, or old Kiôto nobles, their wives and daughters, the court minstrels, and various personages in Japanese mythology and history. A great many other toys, representing all the articles in use in a Japanese lady's chamber, the service of the eating table, the utensils of the kitchen, traveling apparatus, etc., some of them very elaborate and costly, are also exhibited and played with on this day. The

1 Translation of the Asiatic Society of Japan, Vol. II, pp. 132-133, London,

girls make offerings of sake and dried rice, etc., to the effigies of the emperor and empress, and then spend the day with toys, mimicking the whole round of Japanese female life, as that of child, maiden, wife, mother, and grandmother. In some old Japanese families in which I have visited the display of dolls and images was very large and extremely beautiful.

"On this day the entire female sex appears in holiday attire. The whole household store of dolls, among which are many old family treasures, is brought out for the girls and set up in a special room. The living dolls entertain the dead ones with food and drink, the latter consisting, in the absence of milk, of shiro-sake (white sweet cake). In Kio-bashidori, at Tokyo, where the shops are large and splendid and some of the dolls expensive, there is great activity on this day. Formerly the Feast of Dolls' fell, as a rule, in April, when the favorite sakura trees are in blossom, and as it resembles our peach tree, Europeans have named it the Festival of the Peach Flowers.'

་

"On this occasion mothers adorn the chamber with blossoming peach boughs and arrange therein an exhibition of all the dolls which their daughters have received; these represent the Mikado and Court personages, for whom a banquet is prepared, which is consumed by the guests of the evening.

"The greatest day in the year for the boys is on the fifth day of the fifth month. On this day is celebrated what is known as the Feast of Flags.' Previous to the coming of the day the shops display for sale the toys and tokens proper to the occasion. These are all of a kind, suited to young Japanese masculinity. They consist of effigies of heroes and warriors, generals and commanders, soldiers on foot and horse, the genii of strength and valor, wrestlers, etc. The toys represent the equipments and regalia of a daimiô's procession,

all kinds of things used in war, the contents of an arsenal, flags, streamers, banners, etc. A set of these toys is bought for every son born in the family. Hence in old Japanese families the display of the fifth day of the fifth month is extensive and brilliant."

In Korea, at the children's festival, which falls on the eighth day of the fourth month, toys are universally sold, the most popular being the Ot-tok-i, or erect standing one. This is an image made of paper, with a rounded bottom filled with clay, so that it always stands upright; it is feminine, and has many counterparts throughout the world, and is a possible survival of the image of a deity anciently worshiped in Korea at this season, the above date being the birthday of Buddha, and this toy perhaps having once been his image. Still more anciently this was the date of the celebration of the vernal equinox.

In Japan the sitting toy is made to represent the Indian saint Daruma, and its name, Oki agari koboshi, means the little priest that rises up. They must be weighted to rise quickly. Tsuchi-ningyo means clay images of men and horses once buried with the dead to take the place of living sacrifices. Its French name, Le Poussah, is Buddha. This toy, therefore, is a common plaything, carved by an idol maker, and once an object of worship.

M. Ollivier Beauregard 1 says that there are two chief theatricals of dolls in Java, -the Topeng (mute mask), and Wayang (spectacle in shadow). In the latter a sort of bard rhapsodist operates the dolls and tells them their rôles of love and war to musical accompaniment. The dolls represent historical and mythological personages, and this is thought the best means of teaching history and enforcing its morals early. The spectators are often so interested that they watch the play all night. These Javanese marionettes are of three kinds: (1) very

1 Bulletins de la Société d'Anthropologie de Paris, December, 1894, p. 689.