warded off by it. Upwards of five hundred trade trophies figure in one
of these processions, the imposing nature of which may be imagined
from the gorgeous materials and fantastic dresses depicted in the
illustration. The car in the foreground bears the trophy of the
wax-figure makers, whose trade is one of the most lucrative in Japan,
as the Japanese not only perpetuate their celebrities by wax-work
effigies, but the majority of the people, being professors of the
Sintoo religion, have Lares and Penates of the same material, called
'Kamis,' which are supposed to intercede on their behalf with the
Supreme Being. And this is in addition to regular wax-work
exhibitions, which are very popular, and the sale of toys which are
hawked about the country by travelling dealers.

[Illustration: Travelling Merchant (Native Drawing.)]

[Illustration: OTINTA LAMA.]

The merchants have a general right of _entrée_ to all parts of the
town on these occasions. In the illustration, the procession is
passing through the official quarter of Yeddo, the Tycoon's palace
forming the subject of the background. They halt from time to time in
their progress, which is enlivened by songs descriptive of their
various callings, and the beating of huge drums, and blowing of
strange discordant instruments. There is a kind of analogy between our
industrial exhibitions and these festivals; and, whatever the purpose
may be for which they were originated, it is plain that they admirably
represent the industry, wealth, and resources of the country.

'Otinta Sama' is a comical divinity, who is laughed at by some, and
believed by others to inhabit certain miniature temples, which are