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ferring to episodes of epic and romantic tales. Especially in Javanese manuscripts of the eighteenth and nineteenth centuries illus trations are in evidence. The making of illustrations probably was stimulated by the appearance of Dutch prints and illustrated books. Certainly illustrating books was facili tated by the abundant supply of good Dutch paper imported in bulk since the middle of the eighteenth century. Native Javanese treebark paper could seldom be supplied in great quantities of equal colour and quality. Palmleaves were too narrow to have place for illustrations of some size (see 00130). Javanese illustrations are divided into two style-groups: illustrations in the tra ditional wayai} style and naturalistic illus trations. The first group is inspired by the well-known wayai3-puppets, whose charac teristic style is of pre-Islamic origin. Prob ably the sacral rigidity and exaggerated features (long arms and noses) of wayai) puppets are meant to express the idea of other-worldliness. Originally the wayai} puppets were images of ancestors, long gone, and spirits or gods. In Javanese illustra tions personages represented in wayai) style sometimes appear together with figures drawn in naturalistic style; in that case the heroes and heroines invariably are in wayat) style and servants are in naturalistic style. The naturalistic style may be partly recent foreign import (imitation of Dutch artists). There is some reason to suppose, however, that even in the pre-Islamic period natu ralism in art was well-known in Java and Bali. Many manuscripts containing drawings or polychrome pictures either in wayai} or in naturalistic style or in a combination of the two have been registered in the General

Index sub voce illustrations. In Volume Three some illustrations of Javanese manuscripts are discussed and reproduced. In Bali polychrome pictures on sheets of cotton, to be suspended on walls of dwellings or halls, are well-known. Usually the sub ject-matter consists of episodes of epic tales, or pawukon, palalintaryan and palalindon tables, belonging to divination lore. If in the pre-Islamic period similar hangings were made in Java, they disappeared. Instead, in some districts of Java, mural decoration con sisting of polychrome pictures on paper was popular. The subject-matter was borrowed from Javanese epic and romantic literature, or from daily life (see 42.110). The sets of wayary bèbèr scrolls which are preserved in distant districts of Java are products of draughtsmanship related to the Balinese polychrome pictures. They were used in popular wayai) performances (v. 31.140). Appreciating the talents of Javanese ar tists, some Dutch scholars, in particular Mr. Moens of Yogyakarta, between 1920 and 1940, had drawings of scenes of daily life, ceremonies and popular theatricals made by them, mostly provided with Java nese captions. The Leiden University Li brary only possesses copies of the captions of some of Moens’s Yogyakarta albums (42.120). The originals are in Djakarta. Another set of Moens’s albums with Java nese drawings referring to popular wayai} tales and folk-lore has been registered under the head Wayai} (43.000). Some 40 or 50 years before Moens, Dr. van der Tu.uk, of Sii)araja, Bali, had similar pictures made by Balinese artists. As they exclusively refer to things Balinese, and are provided with