s old
in Asia. One is the direct application of a dye-charged stamp upon the
goods. Another is known by us as the _resist_ process, and consists in
printing with a material which will exclude the dye; then putting the
goods in the dye-tub; subsequently washing out the resist-paste, when the
stamped pattern shows white on a colored ground. Some of the pieces of
calico make me suspect the _discharge_ process also, in which a piece of
goods, having been dyed, is stamped in patterns with a material which has
the faculty of making the dye fugitive, when washing causes the pattern to
appear white on a colored ground.

We have not quite done with these tables. There are two great resources of
a people besides work--love and war. "If music be the food of Love, play
on." But will playing on the instruments of Java and other islands of
those warm seas conduce to the object? The _gamelan_, or set of native
band instruments, has one stringed instrument, several flageolets, a
number of wood and metal harmonicons and inverted bronze bowls, all played
with mallets: there are also gongs of various sizes, bells and a drum. The
metal harmonicon is known in Javanese language as the _gambang_, and I
have no better name to propose. The leader's instrument is the
two-stringed fiddle (_rebab_), almost exactly the same as the Siamese
_sie-saw_, which is also admirably named. Among the _gambangs_ at the
Exposition is a wooden harmonicon with twenty bars, and seven bronze
harmonicons with bars varying greatly in size and shape, and consequently
in tone, and in number from eight to twenty-one in an instrument. The
mallets also vary in weight. The _bonang_ is an instrument with inverted
bronze bowls resting on ratans and struck with mallets. They are of
various sizes and thickness, and corresponding tone and quality, and are
arranged in sets of fourteen, two rows of seven each, on a low bench like
a settee. They vary in one from twenty to twenty-four centimetres in
diameter, and in the other from twenty-seven to thirty-two. They are
intended, doubtless, to agree with the chromatic scale of the island, but
are faulty on the fourth and seventh, as it seems to me, and yet, contrary
to Raffles, Lay and other writers, are not pentatonic, in which the fourth
and seventh are rejected altogether and no semi-tones are used. There is
no doubt that the pentatonic is the musical scale of all Malaysia, and
probably of all China; and none also that the diatonic,