The lofty scaffolding outside the enclosure is a time stage, from which the commencement and duration of each match are intimated to the audience by a certain number of strokes on the drum that surmounts it.

[Illustration:  Public wrestling in the great Amphitheatre at VEDDO.]

Before each wrestling-match commences, the ‘geogee,’ or ‘judge,’ who superintends it, shouts out the names and exploits of the contenders, who, after kowtowing very ceremoniously to one another, rise to the preliminary attitude.

At a signal from the judge the combatants commence.  At first they move cautiously about the centre of the ring, watching a favourable opportunity to close, which they presently do with deep guttural exclamations.  Then great working of muscle and tugging and straining follow, the spectators cheering on their respective favourites, until the fall of the geogee’s fan—­which is the moment depicted by the artist—­proclaims the victor.

Thundering plaudits greet the hero of the occasion, who presently strolls about among the assembled multitude, attended by his ‘coegi,’ or ‘servant,’ who collects the offerings with which they liberally reward his exertions.  When money fails, articles of clothing are frequently bestowed—­and sometimes too freely, as it is by no means unusual for both sexes to half denude themselves at these exhibitions; and it is a favourite joke with the women to send their male friends to redeem the articles from the wrestler.

Although fencing is a military exercise, it is so commonly practised by the Japanese ‘yaconinierie,’ or ‘soldiery,’ who comprise a large portion of the population, and is entered into by them in so spirited a manner, that it deserves to be classed as an amusement.

[Illustration:  Yaconins fencing.]

The woodcut is a very faithful representation of yaconins fencing.  The masks cover the whole of the head; and the arms, breast, and hips, are protected by cuirass, petticoat, &c. of leather ribbed with bamboo.

The fencing sticks are of the same length as the ‘obi-todee-auf-catana,’ or ‘great fighting-sword.’  They are made of split canes, bound tightly together, and are used with both hands.

The Japanese fence well, and deliver their points with great precision, especially an awkward downward thrust at the breast.

They deliver their cuts and points with fierce guttural exclamations, which are peculiarly disagreeable to European ears; especially when the listener is located in the vicinity of a guard-house, whose occupants notify their employment at daybreak with such cries as ‘Hie-e!  Ah-h!  Atturah-h!’ (’That’s at! that’s into you!’) and continue this information, accompanied by the clashing of their sticks, and occasional chuckles, until late in the afternoon.

The Japanese are great frequenters of the theatres, of the interior of one of which the illustration is a very good representation—­the exterior is generally very like that of the temples; and in some, the ground-floor is laid out with miniature lakes and bridges, the audience looking down on the performance from lateral and opposite galleries.