There are two forms of marriage, either of which is legally binding.
One is a religious, and the other a civil contract, not very
dissimilar from our marriage by the registrar, saving that the bride's
parents sign for her. Whichever form is used, the parents receive a
sum of money from the bridegroom; but in neither case is the husband
supposed to see the face of his bride until all due formalities have
been performed. The religious ceremony takes place in a temple: the
pair, after listening to a lengthy harangue from one of the attendant
priests, approach the altar, where large tapers are presented to them;
the bride, instructed by the priest, lights her taper at the sacred
censer on the altar, and the bridegroom, igniting his from hers,
allows the two flames to combine, and burn steadily together, thus
symbolizing the perfect unity of the marriage state; and this
completes the ceremonial.

The illustration represents the private ratification of the civil
contract, which is a simple form, by which the parties take upon
themselves the respective duties of husband and wife. The veiled
figure in white is the 'hanna-yomie,' or 'bride,' in the act of
acknowledging the 'hanna-moko,' or 'bridegroom' (who sits opposite to
her in an official dress), by partaking of the nuptial saki. This
'saki,' or 'wine,' is prepared by two intimate female friends of the
bride, who first pour it into the gold and silver lacquer vessels on
the stand, which respectively represent the husband and wife, and
then, taking the vessels in hand, mix the contents in a cup, and
deliver it to the 'shewarin,' or 'master of the ceremonies,' who hands
it to the bride, and then to the bridegroom, and both partake of the
contents, which act constitutes the marriage.