京都とその周辺

27. Kyoto and its Environs.

Railway Stations. The Main (Shichijo) or Kyoto Station (suteishon) is at the S. edge of the city (Pl. C, 5). Trains from Tokyo, Yokohama, Nagoya and other E. points, and Osaka, Kobe, Shimonoseki, Nagasaki, etc., at the W. Also from and to Nara. The Miyako Hotel restaurant upstairs is good and cheap. English spoken. Foreign style. Hotel runners with hotel motor-cars meet trains and will take care of luggage, etc. Trustworthy. The Nijo Station, in the West Central quarter (Pl. B, 3) is the starting point for trains on the Sonobe Rly. (p. 533). All the stations are modern, well-equipped, and clean.

Taxicabs ply for hire. As rates are apt to be variable, the wisest plan is to use the hotel car, the prices of which are fixed and moderate. By telephoning ahead the hotel manager will have a car waiting at the station.

Jinrikis are being rapidly replaced by the speedier and more satisfactory (cheaper where there are several in a party) motor-car. There are printed tariff sheets, but the stranger will do well to come to an understanding with the jinriki-man before employing him.

Electric Tram-cars (densha) connect the rly. stations with the hotels and various parts of the city, and afford a cheap and easy means of getting about. Transfers are given. The city maps given away at the hotels explain the system and help strangers to understand and use them. To reach the Miyako Hotel board a car that starts from a point 100 or more yards at the right of the Main Station, and ask for a transfer to Keage (kay-ahgn'-he), 2 min. walk from the hotel entrance. Other cars pass in front of the Kyoto Hotel. Fares are low. Interurban lines ply in various directions.

Motor-Cars for excursions and sight-seeing trips of any nature can always be hired to better advantage from the hotels. The rates are steady, the cars usually are in good shape, and the drivers are trustworthy.

Hotels. The city hotels are excellent, with all modern conveniences and comforts. The widely known and liked *Miyako Hotel (Tel. address 'Miyako, Kyoto') is exceptionally popular with English, Canadian, and American travelers. It stands in one of the healthiest and most beautiful sections of the city, on the tree- and flower-decked slope of charming Higashi-yama, in the N.E. quarter (Pl. E, 3), near the chief temples, the finest landscape-gardens, the best shops, etc. Superb views over the city and its mountain environment. Many plunging mt. streams in the immediate vicinity. Cool and thoroughly delightful.

The fine new wing added in 1928 contains the best modern plumbing, large, airy rooms, with private baths, steam heat, spacious lounges, elevators, telephones, etc. A charming blend of American comfort and Japanese charm. Known far and wide for its excellent food and perfect service. Recommended.

Rates range from 12 to 15 yen, American Plan, for a single room with

private bath, and from 15 to 35 yen for a double room with private bath. Reduction for a long stay.

The scholarly manager of the hotel, Mr. Moriake Hamaouchi, has had a wide hotel experience in the United States, has a host of American and English friends, and is a mine of information relating to Buddhist art and lore, landscape-gardening, and the myriad fascinating historical associations that are linked with the old metropolis. The traveler so fortunate as to enlist his friendly services in a personally-conducted tour of the neighborhood, with its magnificent temples, will learn much about the alluring undercurrent of Japanese life in the one-time Imperial capital.

The *Kyoto Hotel (Tel. address, 'Kyho, Kyoto'), a fine, new, imposing concrete, fire- and earthquake-proof structure completed in 1928, stands opposite the new City Hall, in Kawaramachi-dori (Pl. D, 3), near the center of the city, is modern in every respect, with spacious, airy rooms with private baths, elevators, telephones, public and private dining-rooms,

reading-rooms, luxurious lobby, etc. English spoken. Known for its

good food and service. Highly spoken of. Recommended. The widely known managing director, Mr. J. Inouye, has had a long experience in catering to foreign travelers, and any hotel conducted by him always ranks with the best. For rates (which are approximately the same as those quoted above) and other information, address the management.

Shops. The Kyoto shops are celebrated for the beauty and diversity of their wares. As headquarters whence many of the shopkeepers throughout the Empire draw their inspiration and their supplies of silks, embroideries, brocades, porcelains, lacquered-wares, damascene-wares and art objects in general, Kyoto is peculiarly satisfying to the lover of exquisite things. While the specialties for which the city is renowned are displayed in many of the highways and byways, the stranger will always save time, money, and subsequent disappointment by making his purchases of reputable dealers whose names are synonymous with fair dealing, and who are always willing to stand back of their guarantee.

In some instances the traveler in Kyoto can have the uniquely interesting experience of seeing the things he wishes to buy in the process of manufacture, and thus test, to his own satisfaction, the quality of the stuff and the work that enters into them. Certain of the workshops rank with the city’s most interesting sights. Visitors are always welcome and they are never made to feel any obligation to buy. In most cases the ruling sentiment in the manufacturer’s mind is an intense pride in his art, which in many instances has been practiced by his forebears for many generations, and whose excellence he deems it his duty to maintain and hand down to succeeding generations.

The following list of shops has been compiled with special reference to the character of the dealer and the quality of his goods. English is spoken in all of them. Most of those listed have small displays of their wares in the lobby of the Miyako Hotel. All are unreservedly recommended as the best in their class.

Silks, Brocades, Embroideries, Kimonos, Underwear, and a host of silken things that charm women, can be inspected at the Daimaru-ichi (K. Kumagai, proprietor; ask for him or Mr. W. Inouye) in Shimmonzen Street (Pl. E, 4). Suppliers to many of the great department stores of England and America. Fixed prices.

S. Nishimura, Sanjo Karasumaru (Pl. C, 3). Ask for Mr. S. Kuwana. The silk-weaving mills of this great house produce some of the most beautiful and valuable silks and brocades made anywhere. A bewildering assortment of everything in plain and fancy silks that one can wish for. Many of the finest silks displayed in London and New York have their origin here. Appointed special suppliers to the Imperial Japanese Household. Fixed prices.

In both of the above-mentioned stores (which are unhesitatingly recommended) there are Dress- and Shirt-making Departments where one can order almost anything made with the assurance that it will be promptly (and exquisitely) done and forwarded to any address. Quality and workmanship guaranteed, at surprisingly low prices.

Damascene-Work in intricate and beautiful designs can be seen in the making at the highly reputable, long-established (1841) atelier of O. Komai at No. 33 Furumonzen Street. English spoken. Displays at the Shimmonzen St. (No. 262) store, and at the Miyako Hotel. The finest damascene-work in the Orient is made here. The interesting process is described in detail at p. ccxlvii.

Lacquer-Work. The best of its kind can be seen in the making at the extensive workshops (300 persons employed) of H. Nishimura, in Okasaki Park, Pl. E, 3. The process of manufacture is described at p. ccxliii. Since its establishment in 1657, the Nishimura Co. has been special purveyor to the Imperial Japanese Household, to the world’s greatest museums, to many world travelers, and to a host of private collectors. Some of the exquisite pieces of gold lacquer made by this house centuries ago are now almost priceless. An amazing excellence and an almost unthinkable fidelity to detail in manufacture are features of the Nishimura products.

In addition to a long list of beautiful and valuable things in almost every conceivable design, less elaborate objects of daily use in thousands* of Japanese homes originate here — soup-bowls, plates, cake-boxes and

stands, tea-cups and saucers, and whatnot. The best pieces are superior to porcelain in that they are impervious to heat and cold, to liquids, to careless usage, and to many agencies that destroy fragile things. Even the beautifully decorated pieces are cheaper than porcelain, and far more serviceable. Sets of the red or black and gold lacquer soup-bowls with their corresponding plates, make beautiful and desirable souvenirs, which at the same time are cheap and useful. The showrooms at the above address are well worth seeing. Ask for Mr. Nishimura, or Mr. K. Nakamura.

Curios and Art Objects. The two best shops in Japan are located here, and their displays are more extensive and more fascinating than the collection in the Imperial Museum.

The Yamanaka Art Gallery, in the Awata District, 5 min. walk from the Miyako Hotel (Pl. E, 3), contains an unusually extensive collection of beautiful Chinese, Japanese, Korean, and Indian art objects including paintings, rugs, porcelains, jades and many semi-precious jewels; wood, ivory and metal carvings; bronzes, tortoise-shell wares; cabinets; screens; furniture inlaid with madreperle; jade; chalcedony, crystals, amber, and such a host of things that a catalogue would be required to list them. The proprietor, Mr. Yamanaka, an art collector of great wealth and greater discernment, is one of the foremost connoisseurs in the world on Eastern and Oriental art; and no traveler to Kyoto should fail to see his marvelous collection of modern and ancient things.

Curators of museums, and artists and collectors, should request permission to see the department containing the admirable 8th-century panels of the Tang Dynasty, brought from Chinese Turkestan and valued at 60,000 yen. Preserved with them are some almost priceless pieces of Indian, Grecian, and Buddhist sculpture, with some Central Asian art objects rarely seen anywhere. Ask for Mr. I. Kitamura, Manager.

S. Hayashi Art Rooms, 54 to 57 Shimmonzen St. (Pl. E, 4). A magnificent collection of antique and modern art objects, including many of the things listed above; in addition to many fine pieces of sculptured brass, bronze, etc. Gorgeous porcelains, Chinese and Japanese art-products in almost endless variety. Ask for Mr. K. Fujii, Manager. Prices are moderate. There are no deceptions. Every article is shown for exactly what it is. Goods packed and shipped anywhere. Hayashi's and Yamanaka's art rooms are known to travelers and collectors the world over, for their excellence and trustworthiness.

The New City Hall, an imposing gray granite and concrete, fire-proof structure on the wide Kawaramachi-dori, dates from 1928, cost 1 1/2 million yen, and is one of the finest edifices in western Japan. The municipal offices are housed here. Kahei Toki, Esquire, Mayor. Wasaburo Yusukawa, Esquire, Vice-Mayor.

The Kyoto Imperial University is in Yoshida-chd. The Doshisha University is in Tmadegawa, Kamikyo-ku. For the addresses of the various foreign churches, missions, and schools, consult the local directory.

Clubs. For the meeting place of the Kyoto Rotary Club, consult the Hotel Manager.

Banks. The traveler is reminded that the National City Bank of New York (Successors to the International Banking Corpo.), and the Yokohama Specie Bank Ltd., both have branches in near-by Osaka, and Kobe, and that travelers’ cheques, letters-of-credit, drafts, etc., can be negotiated there, and money exchanged.

The Japan Tourist Bureau has a branch in the city, and from it the traveler can secure information, maps, plans and whatnot that will show him how he can see all that is worth seeing in the city and its suburbs in the quickest, easiest, and cheapest manner.

Bookstores. Maruzen, of Tokyo, has a branch store here at Sanjo-dori Fuyacho. Daikokuya, Kawaramachi, diagonally opposite the City Hall and the Kyoto Hotel.

Books Recommended: Things Japanese, by Prof. B. H.

Chamberlain, reprinted and augmented in 1928. An authority on Kyoto and the quaint and picturesque aspect of Japanese life, is the well-known author Mr. A. Akiyama. Best known among his various books (in English and oftentimes beautifully illustrated) are The Gion Festival; The Aoi Festival; The Jidai Festival; Sights of the Old Capital; The Geisha Girl; Buddhist Images; Pagodas in Sunrise Land; A Brief History of Pictorial Japan; Life of Koyetsu. For sale at the bookstores.

General Information. Kyoto is one of the most fascinating of all the Japanese cities, and it is a mistake to devote only one or 2 days to it. Weeks can be spent to advantage inspecting its gorgeous temples, palaces and shrines, in tramping through its delightful suburbs, and loitering in its interesting shops and streets. The excellence of its hotels adds materially to the pleasure of a long sojourn.

Within the limits of the old capital there are 10 National (Shinto) Shrines, and 980 Buddhist Temples (41 of the Tendaishu, 43 Shingon, 355 Jodo, 128 Rinzai, 14 Sodo, 3 Wobaku, 165 Nichiren-shu, and 27 other various sects) and many of them contain art treasures superior to those of many a museum. The wonderful collections of Hindu, Chinese, Korean and ' Japanese art objects, displayed in the art shops mentioned hereinbefore, are themselves deserving of days of concentrated study. The city is essentially one of gorgeous Imperial, religious and other ceremonials, and almost every month of the year is marked by some festival or open-air ceremonial or procession that the traveler can see nowhere else, and which, once seen, will remain impressed upon the mind.

Festivals (matsuri). Kyoto is a city of festivals, most of which are highly picturesque and attractive. Some are associated with seasonal flower displays of rare beauty, while others are marked by gorgeous pageantry and mediaeval features which the traveler should try not to miss. The ceremonials of the Miyako Odori, the Aoi fete, and the Gion Matsuri, are peculiar to the city, where the people make great preparations months in advance and enter into the spirit of the occasions with unbridled enthusiasm. The Bon Festival is the local expression of a national commemorative celebration, but it embodies creations not seen elsewhere. — When assisting at these unique occasions the liberal-minded tourist will make due allowances for the differences of custom, inheritance, temperament, and locality; and will be mindful that he is in quaint Japan, not Europe or the West. He will also perchance wish to remember that the features which strike him as grotesque and mayhap incompatible with the mental and material progress of a remarkable race, are merely 20th century expressions of ancient and historic spectacles dating from a time when the people were not as advanced as they are now. During the festive days a variety of interesting entertainments are organized (details in the hotels), and the city streets are profusely and quaintly decorated. Thousands of happy pilgrims (usually clean) come into the capital on these occasions and add materially to the animation and picturesqueness of its thoroughfares. The management of the Miyako Hotel erects temporary stands along the route of the processions for the convenience of foreign guests. The most prominent festivals are listed below; others are celebrated at various times and places.

January: New Year Festivities from the 1st to the 7th. Comp. Tokyo.

February: Snow-scenes on Higashi-yama, and Arashi-yama. About the middle of the month, and thence into the first week in

March, the plum blossoms are at their best. Conspicuous among the many places where they can be seen to advantage are: The Mikado’s Palace Garden (Pl. D, 2); Kitano Tenjin (Pl. B, 1); Kiyomizu-dera (Pl. E, 5); Momoyama (Environs Pl. C, 3), and Nagaoka (E, Pl. A-B, 3). Late in March the peach blossoms begin to blow. The Festival of Dolls for girls (Hina-asobi) is celebrated in this month, and a myriad fine dolls for which Kyoto is celebrated are displayed in the shop-windows.

April is cherry-blossom month, and the most beautiful season of the year. Magnificent displays at Maruyama Park (Pl. E, 4); Omuro Gosho (Pl. A, 2); Arashi-yama (E, Pl. A, 2); Chion-in (Pl. E, 4); Kiyomizu-dera, and at various other points (for about 3 weeks) in the city and suburbs. The Miyako Odori (‘Capital Dance’) in which richly clad maidens participate, is performed (admission, ¥1) every night during the month, at the Kaburenjo Theater (10 min. from the Miyako Hotel), near Gion-machi. Special services in the Chion-in and other temples commemorating the Spring Equinox. On the 21st falls the curious Tayu Dochu (‘Journey of first-class courtezans’), a decorous procession of harlots in costumes popular in bygone centuries.

May is celebrated for its superb Azaleas, Peonies, Wistaria, Kerria japonica, and a host of other flowers induced by the April showers. All can be seen individually in various parts of the city; collectively at the Awata Palace Garden (Pl. E, 3) and the Kyoto Nursery (Pl. A, 3). During the Tango-sekku, or Festival of Armor and Flags (for boys, May 5), the city is brightly decorated. The Kamo-gawa Dance is performed nightly (at the Pontocho Theater) from the 1st to the 16th. Festivals at the Inari Shrine (Pl. D, 6) on movable dates. The Aoi Festival, on the 15th, attracts many foreigners by its gorgeous procession (from the Mikado’s Palace to the Shimo Gamo, thence to the Kami Gamo Shrine; E, Pl. C, 2), in which imperial oxen, flunkeys clad in wonderful costumes, and many old-time customs are conspicuous features. There is also horse-racing. The celebration is said to have originated in the time of the Emperor Kimmei (about A.D. 540), and was intended to appease the gods for a violent and destructive storm. The name Aoi is derived from the custom of wearing the mitsu-aoi, or three asarum-leaves crest, as a symbol of the standing of those who take part in it.

June brings the fireflies to Uji (E, Pl. C, 4); the Lake Biwa Canal (Pl. E, 3), and Arashi-yama (E, Pl. A, 2). Fine irises at the Heian Jingu (Pl. E, 3), and other places. The popular trick-riding matsuri of the Inari Shrine occurs on the 5th.

July. The Gion Festival is the most popular of the summer attractions. The lotus flowers of July and

August are seen to the best advantage at the Imperial Palace Garden, at the Nishi Otani (Pl. E, 5), and at a place near the suburb of Fushimi called Ogura-no-ike (E, Pl. C, 4) where there is a lake (ike) about 2 M. square so densely packed with the lordly flowers that a boat (80 sen) can pass between them only with difficulty. The Bon-odori, or ‘Dance of the Festival of the Dead,’ is held about the middle of the month, when ceremonious dances are performed in many places.

September. Festivals of the Full Moon, in various temples. Curious midnight festival at Hachiman-gu (E, Pl. B, 4) on the 15th.

October. Chrysanthemum displays at the Kyoto Nursery (Pl. A, 3) and other places in the city. Mushroom-hunting (kinoko-gari) on the hills round about. Daimyo Procession (Jidai-gyuretsu) on the 22d; an impressive annual festival (of the Heian-jingu), in which 65 sections of the city are represented, and hundreds of fantastically accoutered people (archers, warriors, court-envoys, dignitaries, mountaineers, etc.) take part.

November, with its wonderful display of crimsoning maples, is one of the months most popular with foreigners. The rlys. run special excursions to near-by places (Takao, E, Pl. B, 1; Arashi-yama, E, Pl. A, 2; etc.). Good displays on Higashi-yama, from the Kinkaku-ji at the N. to Kiyomizu-dera at the S.; at the Chion-in; Tofuku-ji, and at many other points. The trees are usually in their prime about Nov. 10-15, but at certain places (notably the Shugaku-in) they retain their tints until mid-December.

December is a busy month with the shopkeepers, and the ‘December sales* (toahi-no-ichi) bring out throngs of people.

Topography of Kyoto. Kyoto,1 the ancient capital of, and at present the 4th largest city in, Japan, with 700,000 inhabs. (less than 500 foreigners) and 141,000 houses, stands near the head of the wide and well-watered Yamashiro Plain, in lat. 35° 1' 7" N., and long. 135° 46' 7" E. of Greenwich (4° 2' W. of Tokyo), 162 ft. above the sea, in the Kyoto Prefecture, near the geographical center of Yamashiro — one of the historical Five-Home Provinces. It is the capital of Kyoto fu, and is 27 M. N.E. of Osaka, its natural seaport, and 327 M. W. of Tokyo — which since 1868 has been its political mentor. Its beautiful situation in an amphitheater of perennially green mts., whose gracefully sweeping skirts are flecked with mediaeval pagodas and temples, girt in turn with flower-embowered landscape gardens; its palaces, museums, parks, and universities, and its multiplicity of fascinating shops, endow it with charms which have a potent attraction for Occidental travelers. For more than a thousand years, or from a. d. 794 to 1868, it was the political, intellectual, ecclesiastical, and artistic center of Japan, and although its political supremacy was wrested from it at the time of the Restoration, when the Imperial Court moved to Yedo, it is still supreme in the fine arts; in the variety and barbaric splendor of its Buddhist fanes; in the beguilement of its colorful and kaleidoscopic streets with their surging throngs; and in its historical associations.

Its likeable people are so essentially Japanese that they can distinguish an outsider at a glance. They are particularly friendly to foreigners, who in turn are fond of their city. The entire region round about is classic ground where for nearly two thousand years Japanese history has run its variegated course. From the summits of the bulky hills which rise immediately to the north, east, and west of the city, one may command magnificent views of the plain and the more distant mts., and particularly of the fine old monasteries tucked away in incomparable positions in the umbrageous folds of the valleys which gash the mt. sides, surrounded by ancient parks and splendid trees. Dreaming amid extensive, sunny, flower-decked gardens and orchards, they remind one of certain of the fine old conventual estates of Southern Spain — peaceful retreats in which hosts of merry, well-fed brothers of the tonsure lead calm monastic lives.

To many travelers, Kyoto is by far the most picturesque and satisfying of the interior cities of Nippon. To all it is a wholly charming survival of feudal times, and it is the Mecca

1 The word Kyoto is the Chinese equivalent for the original Miyako ('Imperial Capital'), in turn a contraction of Miya, Imperial Palace (also a Shinto shrine), and Tokoro, place or abode. Before the Restoration, Kei, or Keishi ('Capital'), was applied exclusively to it; and after that transcendental political event, it was frequently referred to as Saikyo, or Western Capital, to differentiate it from Tokyo, or Eastern Capital (Yedo), whither the Emperor had gone permanently

of almost every traveler to the opulent East. Enthusiastic writers refer to it lovingly as the Rome of Japan, the City of Temples, of Artists, and what-not. Its people are intensely, fanatically Japanese; and they are as proud of the city as the Parisians are of the splendid metropolis by the Seine. To them it is all that is beautiful and worthy. To remain there while they live, and to be buried in one of the temple graveyards when they die, is the ambition of most of the people. To the absorbed and extraordinarily skilled artists of this relic of Imperial dominance, crushing feudalism, and monkish sway, the inhabitants of bustling Osaka are mere puttering moilers after fugitive and illusory wealth; the bumptious Edokko (or Tokyoites), pleasurers and politicasters; and others of the Empire so unfortunate as not to be able to live in Kyoto, more or less boorish folk out of touch with the finer ethics of Old Japan. The indefinable but insinuating and convincing charm of Kyoto is as unmistakable as it is subtle. Essentially a city of art, Kyoto loves the refined pleasures which a love of art awakens, and this sentiment often finds expression in spectacular processions marked by such wonderful costumes and gorgeousness of color that they attract visitors from all parts of the globe. In the motley throngs that pulse gayly, and apparently in an idle way, through the narrow streets festooned with lanterns and blazing with Oriental color, there is a strong mediaevalism, for many of the people still adhere rigidly to the fast-vanishing customs of early days. This pleasing flavor of antiquity is accentuated by the temple-like appearance of many of the houses (which aim to illustrate Buddhist precepts by being plainer without than within), and by the deep, booming notes of colossal temple bells heard at frequent intervals throughout the city. The temples themselves, many of them miniature art museums, represent the architecture of almost every age, and in this they are of unfailing interest to the ecclesiologist.

In the manufacture of art metal-work, ceramics, fans, dolls, silks, and other stuffs, Kyoto holds first place among the busy cities of Nippon. Fashions in art may be said to originate here, for the amazing energy of the purposeful people manifests itself in constructive ways that appeal strongly to the fancy of others. Here the best traditions of Japanese art are fostered, and the stranger who treads the winding halls of the Imperial palaces, or the vast aisles of certain of the Buddhist fanes, is often amazed and filled with a quiet joy before the marvelous productions of artists who lived and loved and wrought here before the Plantagenets ruled England or Columbus dreamed of re-discovering America. From the primitive old potteries which for centuries have produced porcelains to adorn palaces in almost every land, and from the crude but famous looms whence have come precious brocades and wonderful

tapestries equal in quality and beauty to any that Europe has produced, there are still turned out beautiful art-treasures which scores of eager tourists bear away each year to their Western homes. The work, rather than the workshops, improves with the years, and in the stuffy cubby-holes which differ so little from their prototypes of the Middle Ages, one watches fabrics grow under the deft touch of craftsmen whose forebears mayhap worked on the same spot more than half a thousand years ago. The city is a fascinating mine of interest for the art-lover; here upward of 107,000 men and women are engaged in some sort of industry, annually producing goods worth many millions of yen.

The city proper is in the form of an ellipse with several different quarters, and is divided into unequal halves by the Kamo-gawa ('Duck River'), which enters it from the N., is joined at the Demachi Bridge by the Takano-gawa ('Falcon R.'), and flows S. to its junction with the Yodo-gawa. The Katsura River, a prolongation of the Hozu-gawa, flows past it on the W., and between this and the Kamo-gawa (paralleling the latter), is the narrow and shallow but swift Takase-gawa, much used by small boats. Canals intersect them and connect with the Biwa Canal which flows in at the N.E. The area of approximately 18 sq. M. is being added to steadily, as the city is rapidly expanding toward the N.E. For administrative purposes, it is divided into two large districts, Kamikyo ku, or that section lying N. of Sanjo-dori; and Shimokyo ku, to the S. of it. The East Quarter, or Transpontine Kyoto, rises gradually from the Kamo River to the beautifully wooded slopes of a range of uneven hills running N. and S. called Higashi-yama ('Eastern Mountain'), and along whose crest, from Shogun-zuka (behind the Miyako Hotel) to Kiyomizu-dera (Pl. E, 5), run footpaths which remind the traveller of the Carlsbad roads. From the shaded terraces hereabout, the views over the city and valley are extraordinarily fine. Farther toward the N.E., at the extreme limit of the valley, rises the stately and historic Hiei-zan, and beyond it, silhouetted against the sky-line, the mts. of Kurama, Hirane, and Mikuni. Atago-yama (3000 ft.) and the graceful, flower-garlanded Arashi-yama rise at the W., and are seen to fine advantage when the sun glides behind them. The historic Momo-yama and Fushimi lie toward the S.W. Midway between the Kamogawa and the summit of Higashi-yama, trending S. from a point near the Miyako Hotel to Maruyama Park (Pl. E, 4), is the wide, primitive, beautifully shaded, and attractive avenue known to foreigners as Temple Street, up from which are some of the finest of the city temples. Its northernmost point lies in the district called Awata (near the Awata Palace), the seat of the earthenware industry, and where the exquisite Awata Ware is made. Beyond Maruyama Park the avenue loses its stately

character, and its restricted prolongation is dominated by the celebrated Kiyomizu-zaka (the Tea-Pot Lane of foreigners), which leads E. to the Kiyomizu Temple. This region is also famed for its porcelain (p. ccliii), and attractive specimens of the widely known Kyoto Ware are for sale in many of the shops. The Gojo district, farther S., produces pottery of various kinds, and the region beyond it, nearer to Fushimi, is noted for its manufacture of dolls — one of Kyoto’s many specialties. Shimahara, at the S.W., beyond the Nishi-Hongwanji, is the courtezan quarter.

The Metal Industry (gold-bronze, damascene, and other wares) is concentrated on the W. side of the Kamo River, in the commercial heart of the city. A long way N.W., beyond Nijo Castle, in the Nishijin or ‘Western Camp’ district (so-called for a daimyo named Yamana, who encamped here during the troublous period in 1467), are the looms on which the finest of all the fine brocades in Japan are woven. The weavers (oriya) are known as Nishijin oriya and formerly were under Imperial jurisdiction; the products (Nishijin-ori) turned out of the small and large factories are legion and are usually very beautiful. The silk-weaving industry (which originated in Arabia) is older than history, and is believed to have been practiced in Japan before the Christian era. Korean and Chinese experts gave an impetus to it in the 4th cent., and it became firmly established in Kyoto in a.d. 794. The finest of the hand embroideries are done by men, who excel as needleworkers.

The Streets are characterized by cleanliness and regularity. Many are as straight as arrows and cross others at right angles. Some are being widened, while others are flanked by seemingly interminable rows of little houses that look as if they were all hewn out of the same forest and fashioned by the same hand. When the Emperor Kwammu laid out the original city, he planned it after the Chinese city of Si-ngan (or Chang-an — ‘Continuous Peace’) in Shensi Province, making it in the form of a rectangle of 5 kilometers in length and 4 1/2 in breadth, surrounded by moats and palisades, and with the Imperial Palace occupying the center of the N. part. A great thoroughfare called Shujaku-oji, or the ‘Main Road of the Gentry’ (the busy Sembon St. of the present day), ran from the S. gate of the castle inclosure (at the time N.W. of the present site) to the S. gate of the city, and divided this into halves — Choan, or the ‘Right (or W.) Capital,’ and Rakuyo, ‘Left (or E.) Capital.’ Each half was subdivided into jo or divisions allotted to persons according to their rank; thus, in the first or Ichijo — the one nearest the palace — dwelt upper-grade folks; those of the next rank lived in Nijo (2d st.); third-class people dwelt in Sanjo (3d st.); and so on through Shijo, Gojo, Rokujo, and Shichijo (4th, 5th, 6th, and 7th sts.), where the

fringe of society lived then, and the rly. station stands now. The broadest of these streets (dori) were 170 ft. wide, and these were paralleled by others 40 ft. wide. As similar sets of streets ran N. and S., the old capital was divided into squares like those on a checker-board. There were 1216 of these, each called a cho and each 400 ft. square. A low wall and a double moat girdled the city, and gates stood at the ends of the main avenues. The busy Maruta-machi (‘ log-street) now flanks the S. side of the Palace grounds. The small street called Kyogoku which extends from Sanjo to Shijo is lined with theaters and is very gay in the evening. The Buddhist temple near the upper end, at the right, back in a small yard, is the Segan-ji, and it has a black Amida on the main altar.

Bridges (bashi, or hashi) cross the Kamo River in correspondence with certain of these streets. Many of them are adorned with big bronze giboshu, and are shrouded in historical memories. Among the oldest and most celebrated is the Sanjo no-Ohashi (‘Great 3d Ave. Bridge’), a stately structure corresponding in a way to the nationally famous Nippon Bridge at Tokyo. Distances are measured from it, and it was for many years the starting-point for daimyo and other processions bound for the ShogunaL Court at Yedo. The river which flows broadly beneath, and which completely fills its vast stony bed only during the rainy season, receives the waters of the Lake Biwa Canal and other streams, and forms numerous islets on which dyed stuffs are often spread to dry in the sun. The unusually clear. and pure water possesses the curious property of ‘setting’ dyes, and at nearly all seasons one may see men and women standing knee-deep in the stream swishing to and fro long strips of cloth freshly dyed or being made ready for bleaching or dyeing. Market-gardeners come here to rinse their huge white daikons in the stream, and at times long streaks of coloring matter tinge the water like pennants. Many houses of entertainment flank the river, which in Aug. is thronged by persons who come hither for coolness and diversion.

Unlike many Japanese cities Kyoto possesses pleasing Suburbs which afford charming walks enriched by delightful views. The palace-dotted environs of the N. quarter, and the beautiful wooded slopes of the hills at the E., are the most readily accessible on foot. Whichever way one turns there are historic or flower-decked spots. In addition to the excellently kept Imperial landscape gardens, there are a number of smaller ones privately maintained and well worth seeing. Those in the vicinity of the Miyako Hotel can usually be seen through the good offices of Mr. M. Hamaguchi, the hotel manager. Some of the wealthier temples sit in gardens that in point of beauty are equal to many of the finest in Japan. A quiet stroll through some of them will take the nerve strain out of the most per-

plexed individual, the while deepening the impression that Kyoto is essentially a city of relaxation. It is a city of great memories, a felicitous blend of the North and the South, of Moscow and Seville, celebrated alike for the erudition and gallantry of its men, and for the beauty and charm of its women. Few of the big cities of the Empire afford the traveler the same opportunities of studying Japanese life and customs in their best aspect.

History. Prior to the 8th cent. Kyoto was an insignificant village (called Uda), with only its splendid site to recommend it. It remained unknown to fame until the (50th) Emperor Kwammu, believing that the monkish hierarchy which at that time practically ruled Nara (the first permanent capital of the Japanese Empire) was endangering the best interests of the State, moved the Imperial residence thither — first to Nagaoka in 784, thence (in 794) to Kyoto. ' Everything’ (says Murdoch, vol. 1, p. 207) ‘was done in strict accordance with the requirements of the science of geomancy; the new Temple of Enryaku-ji on Mount Hiei-zan on the N.E., — the quarter whence ill luck and evil influences came — was to serve as the indispensable outpost to deal with malignant demons. The site was found to be under the protecting influence of the four genii who preside over the cardinal points, — the Azure Dragon on the East, the White Tiger on the West, the Red Bird on the South, and the Dark Warrior on the North. A clay statue 8 ft. high, with casque and cuirass of iron, and bow and arrows in hand, was erected on a hillock to the E. of the city (on Shogun-zuka, near the Miyako Hotel), to serve as a special tutelary deity — a Japanese version in clay of the Pallas Athene on the Acropolis. It was believed that when changes in the Empire were impending this image gave timely warning by bursting into song and moving itself.’

Kwammu named his new capital Heian-kyo (* capital of peace and tranquillity’), and his castle Heian-jo (‘ castle of peace’). The cultured classes differentiated it from Nara by calling it Hokuto (‘ northern capital, or constellation ’). Barring a brief interval in 1180, when Taira Kiyomori took his Court to his Palace of Fukuhara, it remained the capital of Japan for 875 years. Seventy-seven Emperors held their courts here and almost as many wars marked their advent and disappearance. During the long interval it underwent many changes, but its general plan remains on the lines of its earliest projection. At first its growth was rapid. The gradual advent of a social state, in which one section of the people ministered to the luxurious proclivities of the other, was accompanied by the rise of three great families, the Minamoto, the Taira, and the Fujiwara, whose feuds devastated the country for five centuries. As the active, administrative heart of the Empire, Kyoto was for centuries the chief objective point of every swashbuckling, piratical picaroon who essayed to overthrow the Imperial or the military authority, and few cities of the East have suffered more heartbreaking trials or horrid ordeals. It has been repeatedly sacked and burned by militant monks and predatory samurai, would-be shoguns and feudal usurpers, and razed by terrible earthquakes, scourged by epidemics, and buffeted and wrecked by elemental forces or internecine strife. Its history is substantially that of Japan from the 8th to the 12th century, when the redoubtable Minamoto Yoritomo established his military oligarchy at Kamakura and ruled the land from that shogunal seat. Time and again the Emperor-loving people of Kyoto saw the fierce Kwanto horse-bowmen defiling through their streets in all the stern panoply of war, in seemingly interminable troops and squadrons; or the magnificent trains of armored courtiers from the military stronghold at Kamakura, where pomp and splendid pageantry replaced the poverty and misery w-hich all too frequently overtook the old Imperial city. During the violent earthquake and storm of Aug., 797, whole rows of streets, hundreds of temples, and thousands of houses fell into ruins, and the city was almost annihilated. Tragedy stalked abroad, and the suffering was appalling. Earthquakes in 850, 857, 804, and 868 destroyed portions of the capital, while the historical fire, which broke out while a typhoon was blowing in 1177, burned the Palace and one third of the citizens' houses, along with several thousand of the population.

Two months before the removal of the Court in 1180, 'there was u very wretched state of things caused by famine. Misfortunes succeeded each other. Either there was drought in spring and summer, or there were storma •and floods in autumn and winter, so that no grain came to maturity. The spring ploughing was in vain, and the labor of planting out the rice in summer came to naught. There was no bustle of reaping in autumn, or of ingathering in winter. In all provinces people left their lands and sought other parts, or, forgetting their homes, went to live among the hills. All kinds of prayers were begun, and even religious practices which were unusual in ordinary times revived, but to no purpose whatever. The capital, dependent as it is on the country for everything, could not remain unconcerned when nothing was produced. The inhabitants in their distress offered to sacrifice their valuables of all kinds, but nobody cared to look at them. Even if buyers came forward, they made little account of gold, and much of grain. Beggars swarmed by the roadside, and our ears were filled with the sound of their lamentations. Amid such misery, we with difficulty reached the close of the first year. With the New Year, men’s hopes revived. But that nothing might be left to complete our misfortunes, a pestilence broke out and continued without ceasing. Everybody was dying of hunger, and as time went on, our state became as desperate as that of the fish in the small pool of the story. At last even respectable-looking people wearing hats, and not unshod, might be seen begging importunately from door to door. Sometimes while you wondered how such utterly wretched creatures could walk at all, they fell down before your eyes. By garden walls or on the roadsides countless persons died of famine, and as their bodies were not removed, the air was filled with evil odours. As the corpses changed, there were many sights which the eye could not endure to see. It was worse on the river banks, where there was not even room for horses and vehicles to pass. Porters and woodcutters too became so feeble that firewood got scarcer and scarcer, and people who had no means nulled down their houses, and sold the timber in the market.... The number of those who died in central Kyoto during the fourth and fifth months alone were 42,300.’ (Chomei, Hojoki.) — The series of great earthquakes of 1185 did immense damage, and the surface of the ground shook and quivered for weeks. At another time more than 80,000 persons perished of plague and famine in Kyoto alone.

Kyoto was a sort of political barometer of conditions throughout the Empire, and when the capital was at its highest point of magnificence and splendor, a revolution could always be predicted. ‘Probably its zenith of glory was in the days of Ashikaga Yoshimitsu (1368-74), when it had more than 500,000 inhabs. He undertook the building of temples and palaces on a scale suggesting that the resources of the nation had only one fitting purpose, the embellishment of the capital. A pagoda 360 ft. high, and a “golden pavilion” were among his most celebrated constructions. The former disappeared altogether in the “eleven years’ war” half a century later, and of the latter only a portion remains, — a threestoried pavilion, the ceiling of the second story decorated with paintings by a celebrated artist, and the whole interior of the third story, ceiling, wails, floor, balcony-railing, and projecting rafters, covered with gilding which was thickly applied over varnish composed of lacquer and hone-powder. Traces alone of the gold can now be seen, but the effect when the edifice was in full preservation must have been dazzling. Yoshimasa, who succeeded to the shogunate in 1449 and is remembered as Japan’s foremost dilettante, erected a Silver Pavilion in imitation of his predecessor’s foible, but never carried it to

completion. 1 Of Kyoto as it was in his days, at the middle of the 15th cent., before long years of war reduced it once more to ruins, a faint conception can be formed from the description of subsequent writers. Says one: —

'The finest edifices were of course the Imperial Palaces. Their roofs seemed to pierce the sky and their balconies to touch the clouds. A lofty hall revealed itself at every fifth step and another at every tenth. No poet or man of letters could view these beauties unmoved. In the park, weeping willows, plum-trees, peach-trees, and pines were cleverly planted so as to enhance the charm of the artificial hills. Rocks shaped like whales, sleeping tigers, dragons or phoenixes, were placed around the lake, where Mandarin ducks looked at their own images in the clear water. Beautiful women wearing perfumed garments of exquisite colors played heavenly music. As for the Flower Palace of the Shogun, it cost six hundred thousand pieces of gold (about 5 million American dollars). The tiles of its roof were like jewels or precious metals. It defies description. In the Takakura Palace resided the mother of the shogun and his wife. A single door cost as much as 20,000 pieces of gold ($160,000). In the eastern part of the city, stood the Karasu-maru Palace, built by Yoshimasa during his youth. It was scarcely less magnificent. Then there was the Fujiwara Palace of the SanjO, where the mother of the late shogun was born. All the resources of human intellect had been employed to adorn it. At Hino and Hirohashi were mansions out of which the mother of the present shogun came. They were full of jewels and precious objects (as were many of the other 27 palaces of the noble families). Even men that made medicine and fortune-teliing their profession, and petty officials like secretaries, had stately residences. There were some 200 of such buildings, constructed entirely of white pine and having four-post gates (gates with flank entrances for persona of inferior rank). Then there were a hundred provincial nobles, great and small, each of whom had a stately residence, so that there were altogether from 6 to 7000 houses of a fine type in the. capital. The great temples that stood in the city and its suburbs were legion. The Sho-kaku-ji, which Yoshimitsu built, cost a hundred times as much as 13 pagodas of a century later. Alas! The city of flowers which was expected to last for ten thousand years, became a scene of desolation; the home of the fox and the wolf. Peace succeeds war, rise follows fall in all ages, but the catastrophe of the Onin era (1467) obliterated the ways of Emperor and Buddha at once. All the glories of Imperialism and all the grandeur of the temples were destroyed forever. Well did the poet write: "The capital is like an evening lark. It rises with song and descends among tears.” '

It was not until the 16th cent, that Kyoto regained some of its old-time magnificence. St. Francis Xavier visited it in 1551, when it was at its lowest ebb, and remembering Marco Polo's reference to its golden palaces, he left it sadly disillusionized. Under Nobunaga’s vigorous rule, order and prosperity returned, so that the year 1585 finds it again a city of palaces and wealth. The great earthquake of 1596 leveled it to the ground, wrecked the Daibutsu and Hideyoshi’s magnificent Peace Palace at Fushimi, and practically ruined it, but by 1612 the Daibutsu, was again in place and the capital rose once more to prominence. Engelbert Kaempfer, writing in 1 690 says: —

* Miako is the great magazine of all Japanese manufacturers and commodities, and the chief mercantile town in the Empire. There is scarce a house in this large capital where there is not something made or sold. Here they refine copper, coin money, print books, weave the richest stuffs with gold and silver flowers. The best and scarcest dyes, the most artful carvings, all sorts of musical instruments, pictures, japanned cabinets, all sorts

of things wrought in gold and other metals, particularly in steel (as the

best tempered blades and other arms) are made here in the utmost perfection, as are also the richest dresses. And after the best fashion, all sorts of toys, puppets moving their heads of themselves, and numberless other things too many to be here mentioned. In short there is nothing can be thought of but what may be found at Miako, and nothing, though never so neatly wrought, can be imported from abroad but what some artist or other in this capital will undertake to imitate it. Considering this it is no wonder that the manufactures of Miako are become so famous throughout the Empire as to be easily preferred to all others, though perhaps inferior in some particulars, only because they have the name of being made here. There are but few houses in all the chief streets where there is not something to be sold, and for my part I could not help wondering whence they can have customers enough for such an immense quantity of goods/

The present city is undergoing reconstruction and is being greatly improved. The increasing demand abroad for manufactured products is enriching many, and the spirit of progress and money-making has so touched certain sections, that they fairly ham with industry. The standard of creature-comforts grows higher each day, and many edifices of brick and stone are replacing the modest houses of feudal times.

The Central and Southeastern Quarters.

*Awata Palace. *Chion-in. Maruyama Park. Gion no Yashiro. Higashi Otani. Kodai-ji. Yasaka Pagoda. *Kiyomizu-dera. Nishi Otani. Daibutsu. Big Bell. Hokaku-jinja. Amida-ga-mine. Ear Mound. *Imperial Art Museum. Chishaku-in. Myoho-in. Sanjo-san-gen-do. Tofuku-ji. Inari Shrine. Sparrow-House.

The *Awata Palace, or Awata Goten (Pl. E, 4), stands 5 min. walk from the Miyako Hotel and near the Awata Goten Maye Station of the Keishin Electric Tramway. It is a branch, or detached palace, of the Higashi-Hongwan-ji, and formerly the private residence of its abbot. It is now maintained solely for his use and as a resting-place for members of the Imperial Family when they visit Kyoto. The beautiful detached palace and splendid garden are somewhat in the style of the Katsura Palace, and of the Shishin-den in the Gosho. The paintings by Kano and other early masters are so old that in some instances one can hardly trace the design. The Sliding Screens by Tosa Mitsunobu, in the room next the entrance, have old paintings of birds and flowers. In the adjacent room are some panels with a black-ink landscape by Kano Sanraku, and some others in the so-called Kano style by an unknown artist. Among the few noteworthy works of art here are the well-painted Chinese lions (shishi) by Kano Eitoku, and a romantic landscape by Hokyo Toshu.

In the suite formerly occupied by the family of the late Emperor are some more sugi-do by Sumiyoshi Gukei (who also painted the pine trees by the seashore, in the Hamamatsu-no-ma), showing the style of cart used in the Gion Matsuri. The kakemonos (which are subject to removal) depicting episodes in the life of Kenshin-Daishi are by Sumiyoshi Koken.

The Sea-bird Room has some rather good old-gold fusuma of various aquatic birds by Shimada Kazue-no-Kami, and a number of musical instruments used in the temple festivals; the two small bronze hand-bells are reputed to have been brought from China by Jikaku-Daishi in 847. The roll of manuscript of certain doctrines of the Hokke sect (of Buddhists), written by Kobo-Daishi upward of a thousand years ago, is perhaps authentic. The adjoining room — which contains the mortuary tablets of many long-dead Emperors; some screens of Chinese subjects by Kano Motonobu (Ko-Hogen); a shrine with a figure of Amida carved by Eshin Sozu, and a picture (by a one-time abbot of the Nishi Hongwanji) of Kenshin-Daishi when he was 90 yrs. old — is too sacred for the traveler to enter, and must be viewed from the threshold, since the sainted bonze was baptized on this spot more than 700 yrs. ago! The Chinese scenes on the fusuma in the succeeding room are by Kano Eitoku. The specimen of handwriting is of the Emperor Shomu, who constructed the Nara Daibutsu. Here and at the end of the corridor are more cedar doors adorned with Gion Matsuri carts. The adjacent throneroom (of the late Mikado) has some fusuma by Kano Kyuseki, and a mascot (a gift to the temple from the late Emperor’s father) in the form of Jurojin, a little man with an abnormally long head (one of the 7 gods of good luck). Conspicuous among the relics (chiefly imperial gifts) displayed in one of the succeeding suites is an image of Amida, said to be more than 2000 yrs. old; a small figure of Jizo sculptured by Shotoku-taishi in 586; a curious statue of Bishamonten ascribed to Jikaku-Daishi; and two old Korean candles presented to the temple in the 16th cent, by Kato Kiyomasa. The old screens by Kano Yasunobu are beneath notice. In one of the corridors here is a

bizarre old panel-screen showing the genealogical tree of the great fighting clans of the Fujiwara, Taira, and Minamoto.

The long and narrow water-basin in the garden, which we pass on the way to the Ko-gosho, where the Mikado sometimes lodges when he is in Kyoto, is said to have been presented to the institution by Toyotomi Hideyoshi. The somewhat striking fusuma in the first room of the suite, depicting pine trees, wraterfalls, and what-not, are by Kano Morinobu, and arc well-preserved specimens of the style of work popular in the 17th cent. The pretty river scenes (dating from the same period) in China, are by Kano Doshun and are interesting portrayals of the methods, long practiced in China and Japan,

of fishing with cormorants. Kano Tanyu and Kano Eitoku did some of the decorative work here; the monkey and pheasants on the cryptomeria doors being in Tanyu’s poorest manner. This versatile man (p. ccxxviii), who so often lapsed from artistic virtue, had a passion for painting these quadrumanous mammals, and the four large fusuma in the next room show some of his more normal work. This is, however, decidedly inferior by contrast with the two large folding silk screens by Cho Shaku Ran, a well-known artist of the Ming period; they are among the best things here and were gifts from the Emperor Reigen (1663-86). The graceful figures in the groups are drawn with consummate skill and with the light, sure touch of a master hand; the tones, though faded, are still lovely; and the princely forms of courtiers, court dames, and other high dignitaries, who seem to float suavely and graciously through the delightful perspective, linger in the mind as one passes to other suites and to less charming compositions. Kano Tanyu is seen again, this time in one of his best moods, in the room where Ko-Hogen Motonobu has some Chinese scenes, and Kano Eitoku some still better ones (at the back). The panels by Eitoku, in an adjacent room, showing the primitive processes of silk-making, from the unwinding of the cocoons to the weaving of the cloth, are interesting. The always satisfying Kano Doshun has four noteworthy panels at the back, symbolizing a celebrated Chinese poem in which Oriental fancy portrays dainty wine-cups filled to the brims and placed in the center of upturned leaves that float languidly downward on the bosom of a placid stream, to a point where eager and laughing youths await impatiently their safe arrival.

The Garden, which indubitably is one of the most charmingly dainty conceptions in the old capital, was laid out by two of the most celebrated artists of the times (15th cent.): the S. half by Maruyama Soami, the tea-drinking poet, painter and crony of the shogun, Yoshimasa, and who planned the garden of the Kinkakuji for that harebrained roysterer; the N. half, where cluster the azaleas which so glorify it in the spring, by the no less renowned Kobori Enshu (or K. Masakazu, 1579-1647), one of Ieyasu’s favorites who won fame as an artist, a poet, a designer of flowers and of landscapes, and who founded a school (called Enshu-ryu) to teach the solemn punctilio of the cha-no-yu ceremony. The fact that a long dynasty of emperors and their beautiful and imperious consorts have paced its serpentine paths and gazed at the moon from its quaint bridges enhances its interest. In May when the rosaceous Kerria japonica (Jap. yamabuki) transforms the spot into a golden bower and vies with the azaleas and wistaria in beautifying it; or in early Nov., when a score of adorable little maple trees flush to the first, boisterous caress of the northwind and mask the hill-slopes with mantles of flame, the

pink-and-white sazankwas, with the blue smoke of pine-needles smouldering in the distance, suffuse the demure scene with color and life. On the low hilltop beyond the lake at the N. is the rustic Bōkwō-tei, or Sorrow-forgetting-terrace, from which a delightful view is had over the temple roofs and the pagodas to Yoshida-yama and the Higashi-yama beyond. The wooden door with the well-painted Chinese figures on the reverse is by Kano Tsunenobu. The pond is shaped to represent the character for kokoro (heart).

At the back of the yard near the base of the great verdant ridge which rises steeply behind it is a small structure called the tea-serving room, where the immortal Nobunaga (who rebuilt a portion of the palace) used to retire from the cares of State; and where the Empress (from 1763 to 1770) Go-Sakuramachi, who used to call it her palace, lived for three years. The decorations of the narrow panels which form the inner walls are by the peerless Maruyama Okyo, and Shimada Kazue-no-Kami. Time has dealt harshly with them, but their historical associations retrieve their faded splendor. There is a piece of queer iron-stone in the yard hereabout, which belies its stony aspect, and gives out the ring of true metal when struck. — Almost facing the exit is Yamanaka’s exhibition of bewilderingly beautiful Japanese, Chinese, and Korean art works; and farther along at the S., some attractive little native shops, among them one where water-worn stones for the decoration of landscape gardens are sold. Still farther S. (5 min.) is the Chion-in, described below.

The *Temple of Chion-in (pron. chee-wo-neen’), a splendid old monasterial institution, at present the principal seat of the Chinzei branch of the powerful Jodo sect (of Buddhists), occupies a commanding and romantically beautiful site on a succession of terraces cut from the green and rugged slope of Higashi-yama (Pl. E, 4). The main temple, one of the foremost in Kyoto, and a typical bit of uncompromisingly pure old Buddhist architecture, faces S., and the lofty cryptomerias, the splendidly graceful pines, and the glorious maples which dom-

mate it (an unforgettable sight in Nov.), as well as the successive flights of stone steps which lead up to it, foreshadow the splendor beyond and remind one of the superbly situated mausolea of incomparable Nikko. The immense stone walls which hold the terraces in place, and the charming perspective through the leafy bowers accentuate the comparison, notwithstanding the fact that the plain but stately old gateway below, while equally imposing in its way, is much less showy than the glittering relics of the opulent Tohvgawa era. This sammon, a huge two-storied weather-beaten structure 80 ft. high (one of the largest in Kyoto), rises from a granite plinth 65 ft. wide, 165 long, and 23 steps up from the roadway. Its immense bulk, which is added to by the flights of lateral stairs that lead up to the (uninteresting) second story, is not without picturesqueness — particularly when the crimsoning maples are in their prime. Then the perspective from the park-like stretch without is one of the most beguiling things in the city, and no traveler should miss it. In the pretty little pond at the right is a stone shaft surmounted by a graceful statue of Kwan non. The 49 stone steps which lead to the first terrace are less commonly used than the easier and wider ascent over the Woman’s Road (onna-zaka) at the right. At the top of either flight, the traveler finds himself on a broad esplanade from the extreme right of which another series of steps lead up to a still loftier, but smaller terrace, where the great bell hangs quietly in its massive belfry.

The original temple was founded in 1211 by Genku, a learned priest (b. 1133; d. 1212), who abandoned the observances of the Tendai sect and became famous by professing that spiritual salvation and entrance into the ‘pure land’

(jodo) could be obtained only through prayer; to this end he repeated the name of Amida as many as 60,000 times a day. The militant, non-conforming bonzes (under whom he had studied) of the Enryaku-ji (on Hiei-zan) succeeded in having him exiled to Sanuki, whither he returned to Kyoto (in 1210) to die at the age of 76. Known as Honen Shonin, he was later canonized under the posthumous title of Enko-Daishi; when his temple was burned in 1633 it was promptly rebuilt in its present form by the order of the Tokugawa shogun, Iemitsu and solemnly dedicated (in 1639) to his memory. A great celebration was enacted here in 1911, at which time the structure was practically renovated. The same date saw the completion of

The Amida-do (Buddha’s Hall), which stands at the left of the main temple and is connected thereto by a covered corridor. It is a huge two-storied structure of distinctively grandiose proportions, with a fine porch almost covered with crisp wood-carvings of flowers, storks, elephant heads, and mythological animals. The two handsome bronze water-basins in

the form of lotus leaves at the right and left of the steps, and the bronze incense-burner under the portico, are all worth noting* A superbly gilded figure of Amida sitting on a big lotus bloom beneath a veritable shower of glittering metal enrichments, is the most striking feature of the main altar in the surprisingly tidy interior. Supporting this reliquary is an elaborate red- and black-lacquered stand of admirable workmanship. Pending from the ceiling are numerous hexagonal metal doban, with a clawing, crimson-throated dragon at each of the angles; the special one (tengai) above the archbishop’s seat being very elaborate. Rows of attractively lacquered sutra-stands, enriched with yellow metal and provided with gold-flecked, crystal-knobbed rolls of the Buddhist scriptures adorned with Tokugawa crests, are ranged round three sides of the altar, where, at nearly all hours of the day, a priest sits and methodically taps a little drum, perchance to drown the voices of devotees who bow their heads to the very floor and implore the ‘Enlightened One’ to hearken to their plaint of Namu Amida.

The Main Temple (167 ft. long, 138 deep, and 95 ft. high) displays a few mediocre wood-carvings along the cross-beams of the vast portico, while in the yard facing it are some large and beautiful bronze lotus-bloom fountains over whose dimpled edges limpid water plashes unceasingly into stone troughs below. The great tile antefixes at the angles of the roof, in the form of horned demons of frightful mien, are supplemented at each corner of the porch by dainty Buddhas, which look as if they enjoyed their exalted positions. Bronze wind-bells pend from the corners, and the white beam-ends of the compound brackets form a striking contrast with the natural color of the wood. A feature of this porch, with which every Japanese is familiar and which the sharp eye of the traveler may detect, is a small wire screen high up under the eaves at the right of the entrance, covering what looks to the naked eye like a hose-nozzle. To the credulous natives it is a miraculous object known far and wide as the Wasure-gasa or ‘forgotten umbrella.’ According to the temple records (which none disbelieve), while the abbot was one day performing an important dedication ceremony before the final touches had been given to the roof, rain began to fall, whereupon a fox god appeared and held an umbrella over his reverend head till the function was completed! When the abbot looked for his protector he had disappeared, but the umbrella remained as proof that a miracle had been performed. The anachronistic proletariat, oblivious of the fact that Hidari Jingoro, the great sculptor, died in 1634, five yrs. before the temple was completed, relate that he left the umbrella there when he finished it, and they therefore call it Hidari Jingoro no wasure-gasa. An imprint of it, along with the character for Kacho (the name of the hill

on which the temple stands), appears on all the compressed rice-cakes which the priests dispense to pilgrims and others. Before entering the temple, it is worth while noting the massive carvings beneath the great ridge-pole, in the angle formed by the sloping roof.

The spacious Interior happily is devoid of trumpery and strained elaboration, and in consequence is singularly satisfying — as elegant in its decorations as the exterior is austere. All the rich ornamentation is centered at the main altar, where stands the splendidly gilded, temple-shaped shrine. A picture of Honen Shonin occupies the place of honor in the reliquary, and facing it, beneath a swinging metal baldachin, is a sumptuous cathedra, for the archbishop. Very striking is the effect produced by the real (dwarfed) pine trees which grow from vases placed at the corners of the altar dais, and by the gilded metal lotuses 20 ft. or more high. The superb keyaki-wood pillars, heavily sheathed with gold, which support the superstructure, are upward of 30 in. in diameter and are magnificent examples of the great girth attained by some of these forest giants. In lieu of capitals, they carry rich polychome decorations, and in the case of the outer ones this enrichment — of gold foil laid on so heavily that it resembles drapery — flows upward to the compound brackets supporting the immense tie-beams. A number of the regal fitments were presented by enthusiastic devotees when the 700th anniversary of the founding of the temple was celebrated (in 1911) with great splendor. Outside the chancel rail is a line of the peculiar sleigh-bell type of gong, used in many of the Japanese temples, and which the priests pound lustily while chanting the Buddhist formula. At the end of a covered passage leading hence is the Shuei-dd, a large plain room where scores of shavenpated young acolytes in flowing robes and with downcast eyes may be seen at times kneeling on padded mats beside lacquered sutra-boxes, intoning the sacred scriptures to the sound of tapping drums, amidst the curling smoke of incense. The main altar enthrones a gilded figure (by Eshin Sozu) of Amida-butsu, who is especially reverenced by the Jodo-shu; on his left is an image of Seishi-bosatsu, and on his right a Kwannon bosatsu both members of his retinue. The side altar contains another Amida and (left) a Monju-bosatsu in priestly robes, the black-and-gold mortuary tablets are of emperors and other notables.

The most prized treasures of the temple are in the O-Hojo and Ko-Hojo of the Goten, a structure at the right of the Shuei-do, erected by the Tokugawa shogun, Iemitsu, and decorated by some of the most celebrated 17th-cent. artists of the Kano school. To the patriotic Japanese and certain enthusiastic foreign writers, some of these wan reflections of early art possess recessive beauties which the casual eye finds diffi-

culty in perceiving. The sliding fusuma on which a majority of the pictures are painted are woefully dingy, and sometimes sadly defaced, the one-time brilliant gold backgrounds showing dully across the centuries, with figures and landscapes that have faded almost to the vanishing point. The bonze conducts the visitor along a wide corridor with (p. clxxx) ‘nightingale floors (of which there are said to be upward of 1800 ft. in the temple) to a spacious apartment used for ceremonious receptions; at times more fusuma are introduced and it is converted into a number of smaller rooms each named for the decorative motives on the panels. The large faded screen at the left of the threshold, depicting two playful Korean lions on a field of gold, are by Kano Tanyu. Equally unattractive is a very old folding screen showing an Imperial procession at Nara in the 8th cent. — the work of the renowned Domo no Matahei (p. ccxxiv). The Plum Room has sliding screens of blossoming plum trees by Kano Sadanobu, and the Stork Room, others with graceful white storks in various attitudes, by Kano Naonobu — whose work also shows in the Pine-Tree Room.

The three following rooms, en suite, — greatly reverenced because the late Mikado, whose throne is seen in one of them, once occupied them, — are embellished with poor conventional drawings by Nobumasa and Naonobu, In the succeeding suite are some panels with strangely unattractive snowscenes by Kano Eitoku; some landscapes also by him; some birds and flowers of no merit, and a set of the Sixteen Rakan, by Nobumasa. An Imperial Prince is said to have become a priest and had his head shaved in the room where there are pictures of bamboo and plum trees. The pink and white chrysanthemums in the succeeding room are by Nobumasa, to whom is also ascribed the excellent panel showing a white heron (i-naorino-sagi) in the act of taking wing. A specimen of his work, upon which the natives look with awe, is shown in one of the contiguous rooms — the ghostly outlines of a tiny sparrow (nuke-suzume) which was painted so true to the life that it flew away and left only its shadow! An equally grave accusation — one in which the priests believe unreservedly — is made regarding one of his doors in the corridor; here he painted a pine tree with such fidelity to nature that resin exuded from its trunk! Hard by, on another panel by him, is an angular and shadowy grimalkin which real cats consider so uncanny that they put up their backs and spit at it when they see it! The Willow-Tree Room has uninteresting decorations by Sadanobu. — At the base of the Kacho Hill, visible from the side door of the temple, is a pretty landscape garden laid out by Kobori Enshu.

The Revolving Library (Kyozo) at the E. (right) of the

honden, contains perhaps a complete set of the Buddhist scriptures; the tjiree seated figures facing the entrance are Fu-

Daishi and his sons Fuken and Fujo. The stone steps near here lead up to a higher terrace on which is the Seishi-do (with a statue of Seishi-bosatsu), the oldest building of the Chion-in group. In the yard is a deep-toned bell, and behind the shrine is a spot regarded by the priests as the most charming in the temple inclosure; a break occurs in the trees, and through the gap one gets a winsome view of the broad plain and the city spread languorously athwart it, while beyond the bulky mts. — the highest of which is Atago-san — girdle it like a wall. On a still higher terrace cut from a rocky ledge and idealized by some lovely maples, is one of the Tombs of Honen Shonin. The structure is richly embellished and is the scene of considerable pomp between the 19th and 24th of April, when the anniversary of the great priest is celebrated. — The Big Bell (o-tsurigane), 2d largest in Japan (comp. Osaka) and one of the great bells of the world, weighs 74 tons, is about 10 ft. 10 in. high, 9 ft. in diameter, 11 in. thick at the lip, and was cast in 1633. The immensely strong old belltower was completed just before the bell was cast, but it was partly restored in 1911.

Maruyama Park (Pl. E, 4), a pretty, tree-embowered spot on the slope of Higashi-yama between the Chion-in and the Kodai-ji, is a favorite resort of Kyoto people and is celebrated locally for its cherry and maple trees. The splendid (200 yrs. old) cherry tree near the entrance, tottering with age and propped up with crutches, is called the Gion-no-yo-zakura, or ‘Night-blooming Cherry,’ from the local custom of decorating it with a host of lanterns during the cherry-blossom season — at which time crowds of people come to see it. Near the lower end (W.) of the Park stands the Gion no Yashiro (often referred to as the Yasaka-jinja), a popular (and very holy) Ryobu-Shinto shrine said to have been founded in 656. Its origin is a subject of much controversy; the rites of the original native religion in their pristine purity were perhaps celebrated here a millennium ago, when the shrine was dedicated to Susano-o no Mikoto. With the amalgamation of Buddhism

it lost its primitive intention, and took the name of an adjacent Buddhist temple called Gion-ji. At one period of its existence it was a dependency of the Buddhist temple of Kofuku-ji and later of the Enryaku-ji. With the disestablishment of Buddhism it again became Shinto. It is an attractive old structure (erected in 1654 on the site of a much earlier one) with a beautiful hinoki roof stained by time to a fine mossgreen above, and a rich wine-red below; architects will note the neat way in which the thin strips forming the lower part of the nether roof (at least 10 in. thick) are placed. A row of quaint iron lanterns girdle the shrine and hang from the eaves. The ornate brass lanterns of the front porch and the sacred horses in the yard are relics of earlier days. The sake-tubs

flanking the portico impart the appearance of a wine-cellar. The huge vermilion gateway adorned with gilded crests is a striking object amidst the green trees. The edifice between it and the shrine contains pictures of the 36 most celebrated poets (san-ju-roku-kasen) who lived before the 11th cent. — each in his, or her, favorite attitude. Both the shrine and the gateway are seen to the best advantage when approached through the great gray granite torii (one of the largest in Japan) which stands before the S.E. entrance. On the night of the 1st and 15th of each month the adjacent grounds are converted into a flower-market. The nationally celebrated Gion Festival, which lasts for a week from July 17, attracts thousands of people and is one of the most popular of its kind in Japan. The week bears somewhat the same relation to Kyoto that the Semana Santa does to Seville, and it is marked by impressive pageantry which most travelers will not wish to miss.

The Gion Festival, one of the three great annual processions, is said to have come into prominence during the reign of the Emperor Seiwa, at a time when the country was scourged by a pestilence which raged with particular fury in Kyoto. To eliminate it, the Imperial astrologers assembled a multitude of people to participate in a ‘driving away’ ceremony. Each carried a long curved halberd (naginata, or naginata-hoko) of a type fashioned by Kokaji Munechika (a famous swordsmith) in gratitude for the life of his daughter — who had been attacked by the plague. Duplicates of these primitive instruments, along with many other curious objects symbolic of the occasion, are carried in the solemn procession, which is often a mile or more long and includes gorgeously decorated cars, floats drawn by oxen, drums, and a boat (Fune-hoko) supposed to be an exact model of the one used by the Empress Jingo in her invasion of Korea. Many youths take part in the musical entertainment, and at night the festival district is illuminated by thousands of lanterns. The hotel management reserves seats for guests in the several grand stands erected along the route.

At midnight on the last day of the year, when Christians hold their watchnight services, Japanese repair in numbers to the revered Gion Shrine for coals from the holy fire which they take home with them to cook the rice-cakes (mochi) popular on New Year's Day. — The Geisha Training School is near the Gion-machi — a gay street where the Cherry Dance is held in April. — The wide, gently sloping, stone-flagged avenue (1/4 M. long) which stretches away at the right of the torii facing the Gion Shrine, and which is flanked by stone lanterns and overhung by graceful pine trees, leads to the entrance of

The Higashi Otani (Pl. E, 4), a greatly revered burying-place of the abbots of the Higashi Hongwanji. Some of the bones of Shinran Shonin are said to be interred here. The elaborately carved gateway at the top of the avenue is enriched with many bronze fitments. Beyond it the stone steps trend to the right, then sweep to a higher level where a number of quaint buildings are grouped in a yard with some handsome bronze lanterns and a noteworthy bronze lotus-flower fountain surmounted by a squirming dragon. The sometime rich

and flashily ornamented Main Temple, on a sequestered terrace amid lovely trees and a restful environment, is now sadly dimmed by age; the beam-ends are all sheathed in heavily chased brass, and the old wood sculptures, like those of many other temples, are protected by wire screens from the defilement of the numerous pigeons which make the place their home. The restricted interior still gleams with a golden afterglow of its once exalted estate; even the many compound brackets are covered with the precious gold foil, as are the deeply carved, pierced panels forming the frieze above the altar. The two end panels carry finely sculptured lotus flowers in shimmering gold, and the three central ones symbolical Wheels of the Law in triplicate. A proud little figure of Amida, darkened by age but still stately amid a shower of glittering tinsel, stands on the main altar, as a record of the excellent work of Kwaikei, an 11th-cent. sculptor, and pupil of Jokaku. At -the right and left are other shrines, one with a revered picture of Shinran Shonin. The fusuma of the inner sanctum show various designs of birds and flowers painted by artists whose very names are forgotten. On a terrace reached by 42 stone steps is

The Tomb of Shinran Shonin; a simple affair of plain gray granite surmounted by a shapeless stone called tora-ishi, or tiger-stone, for its fancied resemblance to a tiger. One’s interest in it is of shorter life than in the sculptured wood gateway (attributed to Hidari Jingoro) which gives ingress to the inclosure. Above the twin doors are boldly carved phoenixes and dragons. Other conventional carvings appear on the several panels, conspicuous among them, one (right) displaying a sculptured lioness peering over a precipice at her cub below, whither she has cuffed it in order to harden it; and another (left) with two carp trying to leap upward over a waterfall — symbolic, to the Japanese (with whom both are favorite subjects), of fixity of purpose and a determination to succeed in life. On certain occasions — usually the offering of rice-cakes and other food to Shonin’s spirit — one may witness a pretty spectacle here. Scores of devotees assemble in the open building opposite the entrance to the tomb inclosure and there, attended by priests in gorgeous robes, who intone a solemn ritual before opening the gates, they kneel, with heads bowed, in silent reverence. — The exit at the end of the lowest terrace leads to a big graveyard behind. The traveler who elects to follow this well-traveled path down the slope, soon emerges near

The Kodai-ji (Pl. E, 4), a temple (admittance, 5 sen) belonging to the Rinzai branch of the Zen sect (of Buddhists), founded in 838 and rebuilt in 1601 by the widow (Kita Mandokoro) of Toyotomi Hideyoshi. It was burned again in 1885, from which period the present structure dates. Although greatly revered by the natives because of the relics of the great

Taiko enshrined therein, foreigners are apt to find the rooms with their faded old screens and gaudily weak decorations dull and uninteresting. Few of them merit description. The screens by Kano Koi, Hasegawa Tohaku, and Domo no Matahei awaken only a languid interest. Certain of the relics are more satisfactory. The lacquered lunch-box carried by Hideyoshi in his military campaigns has many tiny compartments, and is a companion piece to the medicine-chest, marked by his crest. The bronze hand-bell (of Indian origin) was used by him in camp as a reveille, and its historic interest is undoubted, for with it the militant general has perchance called many thousands of his devoted followers from slumber, later to see them plunged into the deep sleep of eternity. The curiously shaped stone on a tray was brought to Hideyoshi from Korea and was used by him as a decoration for a miniature landscape garden. His madreperl writing-box is perhaps authentic. Hard by it is the frame on which his widow is reputed to have hung her bridal robes. The sutra-rolls embodying the doctrines of the Hokke sect, though said to be in the handwriting of Kobo-Daishi, are only copies (gilt characters on a black ground).

The garden, behind which rises a thickly wooded hill, is pretty and is said to have been designed by Kobori Enshu. Spanning the lotus-pond is an arched corridor, midway of which is a small platform (alleged to have been a part of Hideyoshi’s palace at Fushimi) where the Taiko used to sit and gaze at the moon. The little pond at the left, because turtle-shaped, is called Kame-no-ike; and the one at the right, shaped like a stork, Tsuru-no-ike, whence the name of the pair: Tsuru-Kame-no-ike. The Kaisan-do, or Founder’s Hall, to which the bonze now conducts one, is very old and hideously lurid, with decorations embodying all the colors of a crazy-quilt or a chrysanthemum show. The ceiling of the outer room is thought to be a part of the ancient war-junk built to convey Hideyoshi to Korea; and that of the inner one (with four nondescript panels by Kano Motonobu), part of his wife’s palanquin. The involved dragon on the smallest ceiling is by Kano Eitoku. The ugly old rusted iron incense-burner, standing near, was unskillfully fashioned after a repulsive octopus, and tradition has it that it was brought from Korea by Hideyoshi’s barbaric general, Kato Kiyomasa (known to foreigners as a relentless enemy of Christianity, and to Japanese as Kisho-kwan or Devil General, because of his personal bravery and military victories), who is worshiped in certain temples of the Nichiren sect as Seisho-ko (the Chinese equivalent of the Japanese Kiyomasa). The figure on the altar is that of the abbot who baptized the Taiko’s wife.

The visitor is now led along the covered ‘Corridor of the Recumbent Dragon,' spanning a pond called Gunryo-no-ike,

thence up a flight of stone steps interspersed with short tiled landings. Looking upward from below the quick eye notes that stones only are seen, and down from above, that the stair looks as if made solely of tiles. At the top is the Mortuary Chapel (O Tamaya) with a small shrine containing a bosatsu to which Hideyoshi used to pray; his sculptured and seated image when he was 62 (the year of his death) is seen at the right; and at the left one of his wife (when she was 42) in the garb of a nun. Formerly 36 small panels of the 36 most celebrated poets who lived before the 11th cent. — the work of ihe famous Tosa Mitsunobu — adorned the upper part of this room, but they were stolen in Dec., 1911. The steps which lead up to the reliquary, and which depict (in gold tracery) rafts and cherry blossoms floating down a stream, are said to rank among the earliest specimens of lacquer made in Japan. — Higher up at the right of the 0 Tamaya is a little house, constructed by one of Hideyoshi’s teachers, containing a dainty little 'cha-no-wia (tea-room) w'herein elaborate cha-no-yu parties were held formerly. — The small red, two-storied pagoda, which one passes on emerging from the temple inclosure, commemorates the soldiers who died in the Japan-Russia War. The stone monument girdled by an iron fence at the left stands to the memory of those who fell in the Japan-China War. The original Kodai-ji stood here, and the circular stones half embedded in the earth formed part of the foundation. — The noonday gun is fired from the Kodai-ji compound. — - The small shops which face the roadway hereabout specialize in the cheap pottery called Kodai-ji-yaki. — A few minutes* walk to the S. brings one to

The Yasaka Pagoda (Pl. E, 4), a tawdry, 5-storied structure dating from 1618 and occupying the site of one erected in 1440 and said to have been the first of its kind in Japan. Formerly it served as a watch-tower whence the movements of troops were observed. A wide panorama is possible from the upper story, for whosoever is willing to climb to it through the cobwebs and dust. It has been so mauled by the hand of time that the four Nyorai, to whom it is dedicated, are not worth looking at. Of much greater interest is the near-by temple described below.

The *Kiyomizu-dera (Pl., E, 5) a nationally celebrated and

Greatly venerated Buddhist temple on the slope of Kiyomizu Hill (or Otowa-yama), in the S.E. quarter of the city, besides being one of the most popular of the metropolitan fanes (and in point of picturesqueness a unique ecclesiological gem), ranks as one of the 25 places sacred to Honen Shonin, and is 16th on the list of the San-ju-san sho, or Thirty-three Temples (p. ccvi) sacred to the Goddess Kwannon. While the views from its exalted situation are beguiling at all times, the traveler should try to visit it in Nov. when the maples are in their

prime, as they greatly enhance its mediaeval charm. According to the temple records the institution was founded in a.d. 880 by the bonze Enchin, who, returning from China in 858, brought with him the most advanced doctrines of the Jimon branch of the Tendai sect, which he proceeded to teach here. The institution has ever been noted for its eclecticism, for, in addition to the above, the tenets of both the Hosso and the Shingon sects are taught, along with a thin veneer of certain of the more modern philosophical systems that have filtered in from India, China, and the West. The narrow and winding Kiyomizu-zaka that leads eastward from the Kamogawa to it (often referred to by foreigners as 'Tea-pot Lane'), is flanked by a score or more small shops dedicated to the sale of various kickshaws and to a host of little porcelain and pottery objects classed as Kiyomizu-yaki (see p. cclvi). Pilgrims buy these as mementoes of the place, and the bargain-hunting tourist will often find pretty little souvenirs among the multiplicity of things exposed for sale. The brightly colored earthenware dolls and tea-pots, the blue-and-white Kyoto-ware, and the Kiyomizu faience are specialties of the place and are made in the neighborhood. — At the top of the incline, beyond the great single-storied vermilion gateway, the temple buildings are seen to cluster on terraces of varying heights, near the brink of a deep ravine filled in places with rank vegetation and marked here and there by sequestered paths and pretty teahouses. To defend the facade of the temple against the abrupt slope, a complicated system of massive piles and scaffolding has been employed as props, with numerous great tree-trunks that serve to keep it level. Though dating from early in the 17th cent., the structure is still immensely solid and is in singular harmony with its environment. From the colossal balcony which seems to overhang the gorge the traveler enjoys one of the finest prospects imaginable. The rare beauty of the extensive view so affects sentimental natures possessed of a suicidal

mania, that anciently the terrace was the favorite resort of those anxious to exchange a mutable and fugitive mundane existence for the changeless serenity of death. In the late autumn, the great rift in the scarred side of Higashi-yama fairly blazes with reddening maples, and this wonderful wave of color is augmented artificially by violently crimson blankets which the proprietors of the many small refreshment stands spread out on their rest-platforms.

The approach to the temple proper is part and parcel of its bizarre attributes. Two big bronze Korean lions, of a pattern different from those one usually sees in front of shrines, guard the entrance to the compound, while two immense and fiercelooking* Nib stand in their respective loggias beneath the gateway. Passing between these cages and through the gateway, we come (left) to a picturesque old campanile that houses a

bronze bell cast in 1630. Successive flights of stone steps lead to a higher level where a wheezy old three-storied pagoda stands mourning for its past grandeur. There are several nondescript buildings here, one with an altar containing a seated figure of Amida with his faithful Monju and Fugenf and a varied assortment of old relics, too much like junk to be worth the time spent in looking at them. The terrace is flanked by a stone balustrade; a small gate at the left, near which is a fine bronze dragon that spouts water into a stone trough, admits one to a dilapidated colonnade which terminates at

The Main Temple (53 ft. high, 88 deep, and 190 long). The dingy and oppressively overcrowded hall is divided into three lateral compartments, the two inner ones called the Naijin, and Nai-naijin (Holy of Holies). Through the screens which bar the latter from the profaning touch of the uitlander, one sees three tawdry shrines covered with the dust of years, and presided over by scowling Gods of the Four Directions, aided by a whole rogues' gallery of ruffian deities. These fierce-looking but inoffensive gentry form the retinue of an Eleven-faced, Thousand-handed Kwannon concealed in the central reliquary and shown once only in 33 yrs. Much gayer and brighter than her darksome retreat, and equally untidy, is the demonized outer room, littered up with temple furniture and adorned with faded pictures of war scenes on land and sea, famous personages and no less famous horses. The wide, sunlit platform called butai (‘stage') is usually the most thronged, and here the traveler will wish to remain to drink in the charm of the fine view across the gorge to the city spread out on the plain below. The distant mountains are those of Kawachi Province. Should the visitor inspect the temple on Aug. 17, he may witness on this platform a lively festival and classical concert called Rokusai Nembutsu, during which considerable dubious music is produced by persons dressed in antique costumes.

By continuing along the platform to the head of the gorge one passes, at the left, an uninteresting 11-storied stone pagoda, and a near-by shrine called Jishu-jinja, or "shrine of the original owners of the soil," i.e., the primitive Shinto gods. The seated wooden image at the right of the entrance is the unfortunate Binzuru (p. ccviii) which has been so persistently rubbed by the credulous with bodily ailments that it has been found necessary to affix a new face to its old head. Even this new face has a horribly flattened nose and a nauseating, leprous look. Between the Amida-do

and the adjacent Oku-no-in is a dilapidated shed beneath which are hundreds of monkey-like, saddening little stone images of the benevolent Jizo (p. cciv); women with sick babies pray fervently to them, and mothers of children supposed to be cured by his miraculous intervention give baby-bibs and what-not in token of their gratitude. Not a few of these caps and bibs have slipped out of place, and the former, worn over one eye, impart a whimsical look to the idols.

From the platform in front of the uninteresting Oku-no-in one looks far down the gorge — a magnificent pageant of earth and sky. A curious view is also possible here of the splendid old roof of the main temple with its graceful curves and harmonious coloring. Time and the elements have stained the closely packed shingles (of hinoki bark in the Shinto style) to a soft velvety purple shading to dregs-of-wine, and these tones melt into their surroundings as if rubbed there by some titanic hand. The two porticoes and the maze of underpinning are also seen to advantage here, though a better study can be made of them from the sloping walk to the little pool under the brow of the hill. Admirers of the human form may also study it in perfect nudity on the praying-stones under the triple streams of water which leap out of the hillside and splash to the hollow basin. Men japanned in the buff sometimes stand here for 30 min. or more, with the cold water pouring over their shivered noddles, supplicating the deity to safeguard some one, or to favor some pet scheme in which they are interested. The stream is called Otowa-no-taki, and is held to be charged with miraculous powers. — Many small tea-houses where stale or insipid tea and tasteless cakes are sold are scattered through the ravine. The natives, who sit on the tiny platforms and imbibe the national beverage, or saunter through avenues of crimsoned maples, make a scene at once typical and picturesque. — By continuing along the narrow path which slopes sharply downward toward the W. and traverses an extensive graveyard, one will soon pass the side entrance.

The Nishi Otani (Pl. E, 5), a somewhat nondescript temple scarcely worth devoting much time to. It shares the distinction of possessing a portion of the widely distributed remains of the immortal Shinran Shonin. His tomb has been adroitly commercialized; a believer, on the eve of dissolution, may, upon payment of a suitable fee, arrange to have his bones laid beside those of the saint, or his ashes mixed with them. The main entrance to the grounds is from the thoroughfare flanking them on the W. The pretty lotus-pond here is spanned by an arched stone bridge called megane-bashi, from its fanciful resemblance to Chinese goggles. On a bright moonlit night, when the semicircular openings are reflected in the water, they seem to form complete circles, with a bi-

zarre effect. — The main gate, an elaborate structure blazing with yellow metal enrichments, is one of the best proportioned and most striking in Kyoto. The sculptured Paulownia imperialis affixed to the slatted panels of the huge, iron-embossed doors, and the five white lines on the encircling wall, attest the Imperial favor. The great uprights are set in handsome chased bronze sockets, and many metal adornments add to the appearance of the sunken panels of the coffered ceiling. The double-sized carved wood panel over the center beam, showing cranes in the act of rising from the water, is excellently done. The bizarre edifice inside the gate at the left (the Taiko-do), with a superstructure displaying boldly chiseled chrysanthemums in low relief, is a sort of prison (it looks more like a daintily sculptured boudoir) where fractious priests are incarcerated and made to do penance by beating a drum (taiko). The lower floor is used as an office.

At the right of the main temple, which stands just beyond the gateway, is a bronze lotus-and-dragon fountain of good design; the two tall bronze lanterns near by are also worth looking at. The numerous brass embellishments of the temple, and the brass sockets in which the beam-ends are sheathed, impart a lively look to it. The interior is chaste though rich; the most striking objects are five excellently carved and gilded wood panels, in open-work design, showing foliated lotus in high relief. They serve as a frieze to the opulent altar, a maze of gold foil and polychrome decorations amidst which is an old gold statue of Amida. The kakemonos against the gleaming yellow background of the sanctum commemorate various notables. — At the rear of the temple, at the top of a spacious gravelled yard, is another fane, with an equally rich interior. Shinran Shonin’s tomb at the rear is not shown.

The Daibutsu, or Great Buddha (Pl. E, 5), a gilded monstrosity not worth looking at, occupies a tawdry shed N. of the Imperial Museum, near the Daibutsumae Station of the Osaka electric trolley (S.E. of the Gojo Bridge), on the site of the original bronze Buddha erected by Toyotomi Hideyoshi in 1588, and wrecked by a great earthquake in 1596. It is made of lumber covered with gold foil and lurid paint, and is in the form of a colossal head and shoulders 58 ft. high with an ugly face 30 ft. long. History records that the ambitious Taiko planned to erect a daibutsu that would exceed in grandeur the justly celebrated one at Kamakura, but a malevolent fate thwarted the enterprise. After the destruction of the original image, a second huge figure was completed up to the neck, but as the hundred or more artisans were at work casting the head (in Jan., 1603) the scaffolding accidentally took fire and was destroyed, along with the splendid temple which inclosed it. Efforts were made in 1608 to repair the figure, and in 1612 the work was completed only to be later destroyed again.

The present ungainly error dates from 1801; the admission fee of 5 sen admits one also to the little museum at the rear where one finds assembled a few worthless relics, among them a black statuette of Fudtd which Hideyoshi is said to have carried about with him as a mascot. The 180 hanging pictures of Kwannon are without merit.

The Big Bell (weight, 63 tons; 9 ft. in diameter, 14 ft. high, 9 in. thick at the lip) in the same yard is the prototype (and about the size) of the big bell of Osaka and was cast in 1614 by the order of Hideyoshi. Its splendidly deep and sonorous voice can be heard all over the neighborhood. — The Hokoji Temple at the right contains a striking gilt figure of Amida with a fine mandorla embellished with figurines. The small Hokoku shrine (or Toyokuni-jinja) in the yard at the left is dedicated to Hideyoshi, who is worshiped as a divinity. The Armstrong machine-gun and the larger one near it are relics of the China-Japan War. High up the hill behind the shrine, at the top of an almost interminable flight of steps, on a spot called Amida-ga-mine, is Hideyoshi’s grave, surmounted by a granite monument (27 ft. high) erected in 1893. Opposite the front entrance to the shrine inclosure, is a low mound surmounted by a six-piece granite monument shaped like a sotoba. Within this Ear Mound (mimi-zuka), or Nose Mound (hana-zuka) repose (so it is said) the forty or more thousand pickled ears and noses of Koreans and Chinese slaughtered in Korea, during Hideyoshi’s campaign of 1592-98.

The *Kyoto Imperial Art Museum (Hakubutsu-kwan), open daily from 8 to 5 in summer and from 9 to 4 in winter (ticket-office, at the rear, closes 1/2 hr. earlier; admission, 3 sen; no additional fees necessary); with nearly a score of rooms in an attractive new building (opened in 1897 and maintained by the Imperial Household Department) well back from the street (Pl. D, 5) amid spacious grounds, houses a collection of antiques, rather than modern art works, and though less extensive than the superb museum at Tokyo (to which it ranks 2d) it is well worth a visit. It is doubtful if any other Japanese museum (excepting perhaps that of Nara) contains so uniquely valuable and important a collection of authentic sculptured wood statuary of the fruitful 8th and 12th centuries. These now priceless relics of an early art which the Japanese carried to such a noteworthy degree of excellence are of sustained interest to admirers of this special craft, as well as to lovers of the curious in history. The museum is divided into three general departments: History, Fine Arts, and Art Industry. As many of the exhibits (most of which are helpfully classified in English and Japanese) are loaned temporarily by temples or individuals, and as those owned by the nation and classed as national treasures are transferred from time to time to other museums or reliquaries so that the greater number may enjoy

them, no attempt will be made here to classify them in their existing order of location, nor yet to overcome the manifest difficulty of singling out a long list of objects which may or may not prove of great value or interest to the average stranger. Amateurs desiring photographs of present and past exhibits may be interested in the collotype pictures sold by the management at 5 sen each.

In the yard flanking the main path are a number of minor relics, among them three huge bronze figures (from China) of the Chinese gods Ten-kwan, Chi-Kwan, and Sui-Kwan (and ten other gilded bronze images of similar origin and import). In the Middle Room will be found a wonderful array of admirable wood sculptures dating from the Nara epoch (708-81); others of the Fujiwara epoch (888-1155), and some excellent work of the early Tokugawa period — which lasted from 1612 to 1867. Some of the best of the earliest work — an epitome as well as a highly interesting record of those long dead days — is attributed (no doubt unwarrantedly) to Kobo-Daishi (p. cxxvi); other pieces, dating from the 11th cent., to Eshin Sozu; and not a few of the 13th-cent. sculptures to the renowned Jokei. Especially interesting to the amateur who has steeped himself in the history of this fascinating art are certain of the productions to be found in an adjoining room, where there are some special values handed down to posterity by the inimitable Unkei working in his best mood. Here one is often amazed at the rare excellence attained in this subtle handicraft during the period in which this master lived. Some of the figures, 15 or more feet high, are of an astounding vigor and crispness, and are worthy to rank with contemporary art in any land. His giant Jikoku-ten, owned by the Tofuku-ji, and its companion Kwomoku-ten are extraordinarily well executed, and they rank, in point of worth, with the equally large and expressive figures of Kongo-Rikishi. Unkei has a number of masterpieces here, sprinkled among which are several copies of his originals, cunningly fashioned by the modern, sculptors of the Nara workshop mentioned under Nara. It is very likely that he never touched many of the pieces ascribed to him here and in other places throughout the Empire, for to this practical, skillful, and diligent Aesthete more sculptures are attributed in Japan alone than he could have carved in ten ordinary lifetimes. Commonplace wood-carvings are ignorantly saddled upon him with the same carelessness that shady jokes are ascribed to the immortal Abraham Lincoln, and almost every bedeviled little one-horse temple in Japan has some piece of junk forged with his name.

Admirers of Unkei and his masterly work will return time and time again to a certain big glass case here containing a marvelously executed image of the sculptor himself, carved by his own hands. The skirted figure is seated and shows from

the waist up; the drapery is vermiculated and blackened with the smoke and incense of near a thousand years. The old head is as bald as an egg, with a ridge along the top, and in his wrinkled hands he 'holds not a chisel but a rosary. Even the glass eyes fail to mar the naturalness of his homely face or to destroy its good-natured expression. The figure at his left is one which Tankei (a 13th-cent. sculptor) carved of himself;. the Scisd-Monju bosatsu at the rear is ascribed to Kobo - Daishi, and is supposed to have been carved shortly before his death. Back of this case is a smaller one containing a squatting figure of the priest Saigyd, carved by himself in 1198; and at the left a rather striking image of Minamoto no-Yorimasa, in priestly robes. The "great Taira chieftain Kiyomori is also preserved here in apparently imperishable wood, and hard by is a collection of colored masks which run the gamut of human emotions in their bizarre facial expressions. Many of the other statues are of unquestioned antiquity, and nearly all of them are lively illustrations of a fine art for which the Japanese have a true passion. The image of Rai-Jin, the Thunder-God, owned by the Kennin-ji and carved by Tawaraya Sotatsu (17th cent.), is a terrifying composition; quite in contrast to the huge Amida-Nyorai (in the middle room), whose fine calm face is a picture of detached composure. The latter is the work of* Eshin-Sozu, and dates from the 11th cent.

The Imperial Treasures comprise some wonderful bits of old gold-lacquer, bronzes, swords, embroideries, kakemonos, some caligraphic relics of celebrated men, and a collection of exquisite ceramics, certain of them so old and dating from a period so remote that the influence of mayhap the first Korean potters who came to Japan in the 7th cent, are discernible on them. There is an almost interminable array of old armor and weapoos, along with a model of a metal- and bamboosheathed sailing-craft built in 1855, historical documents referring to the assault on the British Minister at Kyoto in 1867, a number of odd relics from Turkestan, a host of old Chinese and native embroideries, a collection of musical instruments, one of coins with some Confederate bills, a number of great festival drums, some palanquins, inlaid madreperl work, and so on. The elaborate palanquin used in the funeral procession of the Emperor Mutsuhito is modern. Of interest to the Japanologist, but even more to the Japanese, is the collection of classical kakemonos, makemonos, and illuminated screens and manuscripts, each of which has its special historical value from the native point of view. The very handsome illuminated Buddhist sutras recall similar work in the library of the British Museum. The gorgeous mandaras are worth looking at, as well as the wall-pictures of Shaka and the Rakan. Three companion kakemonos of Shaka, Monjti, and Fugen date from the

Ashikaga period (1334-1573). A gray monotone kakemono (loaned by the Ryoan-ji of Kyoto) painted in 1559 by the renowned Kano Motonobu, and entitled ‘ A Religious Discussion about a Waterpot,’ is quite curious. The Ashikaga work is superbly done in rich brownish green and gold; the middle panel shows the divine Shaka radiating a halo of glorious lightbeams from a heaven of sunshiny luminosity, with Monju below at his left, also in gold, seated on a lion, and Fugen also below, at his right, in white, seated on a white elephant regally caparisoned. The twin kakemonos at the side (owned by the Kaijusqn-ji of Kyoto), conspicuous for their exquisite tones, are the 16 Rakan. Shaka and his faithful adherents are represented again in another wall-case, in a startlingly realistic and inspiring way; the colors of this conception are harmonious browns, and the work is also of the Ashikaga period. The three kakemonos are owned by the Soken-in, of Kyoto, and they may easily be classed among the finest in the museum. In one case there is a superb Jizo bosatsu (the property of the Shoho-ji of Kyoto), so admirably done as to recall certain of Rembrandt's work. Near it is a beautiful and graceful composition loaned by the Kosho-ji, showing lotus flowers in the wind. In the same case with this is a kakemono (by Ganseki, a Chinese artist of the Ming period — 1368 -1616, and owned by the Shoden-ji) of a bizarre tiger licking his paw — considered by the Japanese an adorable masterpiece. Near the two ugly screens (by Kano Tsunenobu, in 1713), showing waterbuffalo, is a strikingly artistic kakemono of Miroku bosatsu, painted by the Princess Mitsuki (about 1727), and loaned the Rinkyu-ji, of Kyoto. So fascinating is much of this ancient work to the Japanese that eager copyists may nearly always be seen busily tracing off the scenes — perchance later to reproduce them and unload them (as originals) at a big figure on trustful antiquaries!

There is little worth seeing in the immediate vicinity of the museum, save, perhaps, the San-ju-san-gen-do, and this can easily be eliminated if the traveler is pressed for time. The Diabutsu is too contemptible to waste time on unless this hangs heavily on one’s hands. At the S.E. corner of the museum grounds, standing far back in its own yard, is the Chishaku-in, a small Buddhist temple built in 1601 of the ruins of a celebrated fane known as the Negoro-ji, in Negoro village, Kii Province. The original temple was founded by the bonze Kakuhan in 1130; it belonged to the Shingi branch of the Shingon sect, and under the Ashikaga shoguns, it became so prosperous that at one time it had as many as 2700 minor dependencies, each of which supported a small army of sohei, or mercenaries maintained by the priests to protect their respective domains and to fight rival sects. These swashbucklers caused so much trouble in the province that Toyotomi

Hideyoshi besieged, and practically destroyed, the main temple (in 1585), whereupon the defeated bonzes migrated to Kyoto with what remained of their splendid headquarters. The present building belongs to the Tendai sect and contains a number of trashy relics (admission, 5 sen) of little interest to foreigners. The dim old screens visible from the entrance are indicative of what lies beyond. The one-time pretty garden has been so neglected that it is no longer attractive. — Diagonally opposite the rear entrance to the museum, on a terrace reached by a short flight of steps, stands

The Myoho-in, a small Buddhist temple dating from 1158 and celebrated formerly for a gold image (presented by the King of Siam in 1902, but which has now disappeared) of Shaka with diamond eyes. Anciently of considerable importance the institution has degenerated into a sort of tawdry ecclesiastical museum adorned with strong colors, with a regulation box-office (admission, 5 sen), and a faded old lacquered palanquin (used by the Emperor Kokaku, who died in 1840), ingenuously set out in view as a teaser. Among the exhibits of more or less doubtful paternity are a number of 'relics of Toyotomi Hideyoshi. Conspicuous among them is an old Korean hat, amulet, and jar brought by his soldiers on their return from the momentous invasion of Korea — the jar no doubt filled with pickled Korean ears and noses. Curious among the sculptured wood images is that of the erratic priest Kuya Shonin (b. 903; d. 972), who is customarily pictured with a staff in one hand, a hammer in the other, a bronze gong at his girdle, and twin wires (on which six tiny Buddhas sit) protruding from his mouth. He resembles a wild-eyed, disheveled fakir, but his memory is revered as that of a great and miraculous healer, for in 951, when a great epidemic ravaged the district, Kuya (or Kosho as he is sometimes called) carved a large statue of Kwannon with eleven faces, placed it on a chair, carried it about the city, and exhorted the scourge to disappear — which according to tradition it did! Kuya was something of a utilitarian as well as a religious enthusiast, for in his wanderings and teachings of the doctrines of Buddha, he built bridges, dug wells, opened up roads, and did much work of a similar nature. — Few of the weather-beaten sculptured images, screens, or ancestral tablets, are worth looking at; the old panels of bamboos, chrysanthemums, and other flowers are ascribed to Kano Eitoku. The two black-and-white dragon-and-tiger kakemonos are (perhaps) by Sesshu. Many illuminated sutras and smaller objects are displayed in the wall-cases or hung on the walls. The floors of the corridors are of the ‘nightingale’ type. — The Hiyoshi-jinja, a Shinto shrine at the end of the walk up at the right of the Myoho-in, is uninteresting.

The San-ju-san-gen-do (Thirty-three Ken Hall),

formerly as the Renge-o-in and now as the Temple of the 33,333 images, is 2 min. walk S. of the Imperial Museum (Pl. D, 5); is celebrated for its Thousand and One Statues of the Goddess Kwannon and derives its name from the two massive interior roof-beams each 33 ken long. The weather-beaten, barn-like structure (property of the Tendai sect of Buddhists) is 53 ft. wide by nearly 400 ft. long; has a 6-ft. platform running quite around it, and is divided into 35 spaces delimited by 36 upright columns sheathed in rusted iron, with 5 spaces at each end. It stands on a slightly elevated terrace in the center of a wide open space, on the site of a structure founded in 1132 by the Emperor Toba — whose extravagances helped to precipitate the great war for political supremacy between the Taira and the Minamoto clans. When the old building burned in 1249, the 2002 images it is said to have contained, perished with it, but in 1266 the Emperor Kameyama assembled 1001 new figures and housed them in the present building — which was practically reconstructed by the 4th Tokugawa shogun, Ietsuna, in 1662. The numerous pits and slits in the beams of the back platform are relies of a time when the

Priests in charge were fond of archery and used to practice here — the aim being to shoot an arrow from one end of the structure to the other.

The visitor pays 5 sen at the ticket-office at the main door (E., center), turns to the right, makes the complete inner circuit, and comes out by the same door. The huge central figure in the vast room is a noteworthy seated image (carved by Kokei) of the Senju (‘thousand hands') Kwannon (8 ft. high), backed by an immense pierced and gilded mandorla, studded with figurines of the same divinity and forming a sort of glittering canopy. A number of smaller heads surmount the big one; guardian demons stand at the right and left; numerous altar fitments cluster in front, and here a shaven-pated priest sits and drones the sacred ritual. Up and down the inclosure, at the right and left of this altar, are ten tiers with 50 figures each of the same Eleven-faced, Thousand-handed Kwannon, in phalanxes which rise one behind the other. They form a tawdry, dusty, senseless throng, do these slim divinities in gilded armor, each 5 ft. high, some maimed and tottering, and all silent relics of a curious past. A third or more are attributed to Kokei (father to the greater Unkei), 200 to Unkei himself (undoubtedly a gross exaggeration), and the remainder to less famous sculptors. All are surmounted by scores of tiny ones, like fruit on a tree, and these, counted with the larger ones, total (it is said) 33,333. Some stand with hands clasped palm to palm, and over the upright thumbs small rosaries have been flung. Others hold in their multitude of microscopic hands Buddhist symbols — the Wheel of the Law, a lotus flower, a diamond, and the like. Each is said to differ slightly from its

neighbor, and each is so old and decrepit, with so many hands and arms to fall off, that the weazened old carpenter who sits on his little work-bench at the rear of the gallery is kept busy repairing them. Near his dusty little cubby-hole are a few indifferent statues of various deities ignorantly ascribed to Unkei, and a sharp-eyed priest who begs sturdily for contributions toward the upkeep of the establishment.

The Tofuku-ji. a Buddhist temple (Pl. E, 6) of the Zen sect, in the S.E. quarter not far from the museum (descend from the tram-carat Tofuku-ji Station), on the site of a temple erected between 1246 and 1255 by Kujo Machiie and celebrated then as the most beautiful temple in Kyoto, is now but a faded remnant of former grandeur. The great Daibutsu (50 ft. high), which once was a feature of it, was destroyed by the fire which burned the temple and most of its outbuildings in 1881, and only the big gateway at the S.E. side and the few detached edifices clustering near it remain of the original structures. Many minor gates and a labyrinth of paths mark the extensive grounds, the chief charm of which is a small ravine choked with maples that are a flamboyant glory in the late autumn. The neighborhood through which one must pass to reach the temple is not celebrated for the pulchritude of its inhabitants, who seem to rely upon miracles for doing the work of soap. A number of porcelain factories flank the river, in the shallow bed of which men and women wash newly dyed cloths which they later spread out on the sand-spits to dry; or sift fine sand into barrels for use in the earthenware manufactories.

Spanning the ravine (through which a laughing brook meanders) is a long covered portico with the grandiloquent name 1 Bridge of Heaven * (tsu-ten-kyd), where scores of Kyoto people rally in the fall to enjoy the reddening maple leaves. Picnickers descend to the small platforms below, where tea and other goodies are served to the sound of tinkling water and thrummed samisen. A specialty of the spot is the grafting of maples upon other trees — chiefly those whose rich tints enhance the momiji’s charm. At the left of the ravine (which is on the N. side of the inclosure) is a branching corridor that leads to the quaint Kaisan-dd, a uniqtie structure with an extraordinary roof, an environing garden containing a lotuspool flanked by fantastic pines, and a stretch of smooth sand on whose surface geometrical designs are drawn with a sharp stick — a practice common in the temple gardens in Kyoto. The new temple beyond the gorge is an odd blend of Buddhist and Shinto architecture, with a shingled porch and a tiled roof. In the adjacent pretty shrine are some pleasing kakemono of the Five Hundred Rakan, by Cho Densu, or Minchd (his true name), who lived his long life (1352-1431) here as a monk. His masterpiece, the most prized possession of the

temple, is an immense (24 by 48 ft.) picture (painted in 1408) depicting Buddha’s Entry into Nirvana (Nehan-zd). It is shown only on the 14th, 15th, and 16th of March, in one of the wide hails, where it is hoisted against the wall and viewed by the hundreds of pilgrims who foregather from distant parts to see it. A work of equal merit, which the traveler who ingratiates himself with the priest in charge may see, is an immense painted Kwannon seated on a rock against which waves are breaking, in the midst of surging clouds. The drawing shows Densu in one of his best moods (that of the skillful artist who knows himself and accomplishes his work with simplicity and speed) and the white body-color contrasted with the background gives it the decorative beauty of a fine tapestry, — The older buildings of the compound — which reminds one of a great tree-dotted campus — contain neglected images of divinities not worth looking at.

A 15 min. walk N.E. of the temple (take the road at the N. or S. of the inclosure) brings one to the dilapidated Senyu-ji, said to have been founded by Kobo-Daishi in the 9th cent. It became the burying-ground of the Mikados in 1242, and many mouldering tombs surround it. In the depleted reliquary is a tooth said to have been brought from China in the 7th cent, by the famous Fujiwara Fuhitoy and to have formed a segment of Buddha’s masticatory apparatus when he was on earth. About i M. S. of T of uku-ji stands the Inari Shrine described below.

The Shinto Shrine of Inari (Chinese: ‘rice-bearing’), or Inari no Yashiro (Pl. D, 6), one of the most important and popular of the Kyoto shrines (in the S.E. suburb 4 M. from the Miyako Hotel; tram-car in 1 hr.; fare, 10 sen; or by rly. from the Kyoto Station in 6 min.), is the prototype of hundreds of similar shrines scattered throughout Japan. It stands on the slope of a hill (Inari-yama) where Uga no mitama the Goddess of Cereals (to whom it is dedicated), first appeared to the Japanese. In the minds of many covetous and credulous folks, the shrine is a dispenser of wealth (since rice has at all times represented wealth in Japan), and hither repair throngs of impecunious bumpkins who toss coins valued at 1/5 of one sen into the capacious contribution-box, then pray lustily for the fattest prize in the goddess’s exchequer. As Inari is also the tutelar of cutlers and swordsmiths (having once assisted the celebrated Kokaji to forge certain of his famous blades), hither also come an army of metalmen, all eager to invest a sen and learn the secret of transmuting pot-metal into hair-splitting cutlery. Pilgrims, who foregather here from all parts,

1 The Goddess of Cereals, the supposed daughter of the mythological Izanagi and Izanami, is known by many names: Toyo-uke-bime no mikolo; Ukemochi no kami; Okeisu-hime, etc. The sex of the divinity is a matter of controversy, some identifying her with the primitive god who first planted lice in Nippon. 1

usually carry home with them as talismanic aids to bounteous harvests, one or more of the earthenware figurines (called Fushimi ningyo — lit., dolls, or puppets made at Fushimi) in the form of soldiers, foxes, fowls, and what-not (with which all the tiny shops are packed), as well as a small vermilion torii — distinguishing symbols of the shrine. The clapping of hands, the jingling of holy bells, the rasping of geta on the bare stones, and the loud-voiced pleading for the capital prize are incessant and almost deafening. Men often stroll round the compound for hours on end with ears cocked for some wireless hunch from a benevolent deity, or a fragmentary bit of conversation between successful business men that will give them an idea of how to get rich. At midnight, too, they prowl round the shrine in the hope that a 'still small voice' may whisper the coveted word which will serve as a keystone to their financial arch. The courtyard is the haunt of toysellers, mendicants, fortune-tellers, women who liberate small birds from a cage for 5 sen, or who sell rice as offerings to the gods and which the pigeons eat as soon as it is sprinkled on the altars. On a bright day when throngs of gayly dressed women and children pass to and fro through the inclosure crowded with snappy upstart images of foxes, the place is as lively as Donny brook Fair. The most attractive time for the foreigner is in Nov. when the maples are turning, and in May and June when the local festivals are in full blast. Most important among these is the Inari-matsuri which usually falls on June 5; at this time trick-riders come on horseback from an old temple (Fuji-no-mori) off the Nara road; the sacred cars kept in the white godown are drawn out and placed in the procession, and the day is devoted to general jollity — and pocketpicking. On this occasion the people eat Inari-zushi, or fried tofu stuffed with boiled rice, since tofu is the favorite food of the fox popularly believed to be the messenger of Inari (and by extension, the God of Rice).

The two entrances at the left of the rly. station are marked by colossal flamboyant torii that are like lurid shrieks in their green environment. Just within the upper, or main, entrance, are tw'o well-carved Korean lions on pedestals, then a wide flagged walk flanked by pines, maples, and numerous stone lanterns near a spirited bronze horse. Two lifelike stone foxes guard the entrance to the big, glowing gateway, in the loggias of which the customary Udaijin and Sadaijin replace the Buddhist Nid. The view hence is animated and pretty; the yard is crowded with sculptured foxes of all grades and sizes* with stone lantern and lofty pine trees. Those foxes with a rolled book in their mouths and a stone key (the book which tells one how to succeed, and the key which unlocks the treasure-godown) receive the most attention from the prayerfully inclined. The highly tinted oratory (between the gate and

the shrine proper) has a fine old roof in the Shinto style, and 36 pictures of famous poets. The ex-voto hall near by also has pictures executed by persons who were not artists. The pretty roof of the dancing-stage at the right has its beam-ends all sheathed in metal covered with gold foil. Inside the building is a circular mirror and a drum.

Many smaller shrines stand about in the broad, stone-flagged courtyard, each seeming to compete in luridity with the central one — which occupies the site of the original shrine erected in 711, and is guarded by the original pair of foxes into which the goddess entered when she came to earth! Its rainbow colors clash like cymbals, and the cluttering mass of bells and mirrors, brass and bronze fitments are tawdry and inartistic. The high-colored dogs with curled manes and tails, guarding the shrine from the outer balcony, are the customary ama and koma-inu. The temple office (shamusho), at the left, is in better taste. On the terraces which rise behind the shrine are other brilliant structures, and long lines of vermilion wood torii with black legs and the names of their donors inscribed thereon. A host of whining, frowsy beggars flank them to the point where they converge at the tiny hillside shrine called Oku-no-in, where there is a scrap-heap for the deposition of broken torii and household deities that have served their purpose. The path at the left, called ‘Circuit of the Mountain Hollows’ (Hora-meguri, or cave-going-round), leads up and around the hillside for about 2 M. and is supposed to be flanked by fox-burrows. From the summits of the hills — some of which are sprinkled with Imperial tombs — good views of the surrounding country may be enjoyed. An excellent mushroom called matsutake is found in the neighborhood. The lively street in front of the shrine inclosure is known as Inari-gozen machi, with many small restaurants and shops.

While the traveler is in this neighborhood he may wish to continue along the Fuskimi-kaidd (cross the rly. track beyond the Inari Station, and continue up the highway 5 min.) to the (left) Sparrow-House (Suzume no Oyado)y a simple dwelling (no distinguishing marks) regarded by the townsfolk as a local curiosity (fees not obligatory). For some unknown reason this house has been selected as a nesting-place for the sparrows (suzume) of the neighborhood, and under the porch of the open court, and from the beams and rafters of the interior, pend scores of gourds, willow baskets, metal lanterns, and what-not in which the birds have built their nests and to which they come through a barred window in the side wall. Tradition has it that at some period in the dim past, the owner of the house (a scrupulously clean place) befriended the forebears of the present birds, from which time (very long ago) they took up their abode under his roof. Here they are carefully guarded agauist the snakes and rats which seek

them, and to this haven they come in confusing swarms at eventide — to depart early in the morning to seek their food in the city's streets. During the mating season the house is in a turmoil; the amorous birds bring ‘friends' with them and make nests in every nook and cranny of the place; not overlooking the cooking-utensils, old hats, coat-pockets, shoes, and so forth. Children love the place and they bring gourds, etc., with their names inscribed upon them, and are delighted to find a feathery little family being reared in them. Visitors are welcomed by the courteous old lady of the house, who ekes out a living by selling pretty post-cards showing the nests. — • The traveler fond of Shinto shrines and their oftentimes picturesque surroundings will be well repaid if he decides to continue beyond the Inari Shrine to the far handsomer and more spiritually satisfying Hachiman-gu described hereinafter.

Northeast Quarter.

*Kurodani. Shinnyo-do. Yoshida-jinja. Ginkaku-ji. Honen-in.

Anraku-ji. Nyakuo-ji. Eikwan-do. Nanzen-ji. Ke-age.

♦Kurodani (‘Dark Valley') a charmingly situated Buddhist temple on a hill in the N.E. quarter (Pl. E, 2), 20 min. walk from the Miyako Hotel, was founded early in the 13th cent, by Honen Shonint on the site of the cabin built by him for his long meditation upon the doctrine of the Jddo-shu as expounded by him after he had severed his connection with the Teadai sect. The present structure, the headquarters of the Settan-ha branch of the Jodo sect, dates from about 1775 and owes its spick-and-span appearance to the various renovations and improvements made in 1911 when Shoninfs 700th anniversary was celebrated with great pomp and brilliancy. The double line of wooden tablets which the traveler notes at the right and left as he enters the temple grounds bear the names of the most generous contributors to these improvements; some of the standards stuck in the ground at the left record sums ranging from 50 to 700 yen. The outer gate is less imposing than the Main Gate, which is a severely simple but unusually sturdy and attractive example of 18th-cent. Buddhist architecture. The custodian (office at the left of the stone steps leading to the upper terrace) keeps the key to the superstructure, which is reached by 46 steep wooden steps. The handsome gilded images of Shaka, Monju, and Fugen are cheapened by contact with the 16 luridly decorated Rakan which flank them. The sinister sepia dragon on the ceiling is by some unknown artist of the Kano school. The view from the encircling balcony is magnificent and far-reaching — extending over the entire city and to the green hills which hold it quietly in a loving embrace.

The temple environment, one of great natural beauty, is unusually satisfying. The immense, patriarchal cryptomerias,

which must be very old, tower high above the grotesque pines, flaming maples, magnolias, plums, cherry, and other flowering trees that overshadow the cool, sequestered paths. Along these, pensive bonzes and humble acolytes with downcast look pace tranquilly to the rhythm of clicking rosaries, deepvoiced bells, tapping drums, and chanted litanies; their rich and brilliant silken robes of rose, plum, dregs-of-wine, creamwhite, and iridescent green striking a curiously tender note, and evoking dreams of imperial gardens, of princesses, ladiesin-waiting, and memories of other lands and times. Nestling deeply and contentedly in its ancient and sacred groves, the fine, dignified old temple seems very far from the noise and commotion of the modern city. A great and all-pervasive calm seems to brood above it, soothing the tired nerves like a childhood lullaby. At the right of the sammon is the usual easy ascent for the women, and straight ahead are the 21 stone steps which sweep upward to the terrace on which the temple stands. Here, at the left, is the old campanario with its melodious bell, and farther along, almost hidden among the trees, are two big, seated bronze figures of the merciful Amida. The artistic bronze water-buckets near the entrance receive rain-water from the temple-roof and serve as a part of its fire equipment. Conspicuous objects on this esplanade are 3 curious pine trees, two of them locally celebrated. One, called Ogi-no-matsu (‘pine of the folding-fan'), has been trained skillfully to grow along a trellis, in the shape of an open fan; the other, some distance to the right, is called Yoroi-kake-matsu (* broken-armor pine'), from the tradition that Kumagaya Naozane hung his sword and coat-of-mail upon it when he renounced his calling and as a monk entered upon a lifelong penance.

History makes of Naozane a 12th-cent. hero of the Taira Clan, who later joined the Minamoto and fought against his erstwhile friends. At the celebrated battle of Suma-no-ura (in 1184), he overtook and seized an enemy in armor and prepared to dispatch him. As the etiquette of war required that in such cases no blood should be spilled unless the vanquished proved to be of equal rank and ability with his captor, the great soldier demanded the stranger’s name. This was refused, and, in growing anger, Naozane ruthlessly tore off his helmet only to find that the fair, beardless face before him was that of a beloved comrade, Taira Atsumori, son and heir of his former master. The astonished warrior relaxed his hold, and, helping the youth to his feet, the while swearing that his sword should never be tarnished by a drop of his blood, bade him go to his mother’s side. Atsumori refused, and begged Naozane, for the honor of both, to kill him on the spot. Visions of bis own dear son who had fallen in battle earlier in the day flashed across his mind, and with breaking voice he again begged Atsumori to fly for his life. Finding his entreaties vain and hearing the steps of approaching comrades he exclaimed: ‘If thou art overtaken, thou mayest fall by a more ignoble hand than mine. O, thou Infinite One, receive his soul! ’ Atsumori received the blow without flinching, and Kumagaya, crushed with remorse, restored the severed head to Atsumori’s father, and at the end of the war, retired to the Kurodani Temple, took the name of Rensho, humbly placed himself under the direction of the famous Genku, and died in 1208. The story has been dramatized under the title 'Atsumori'

The main temple has a beautiful reliquary of metal and gold-lacquer containing a sculptured wood figure of Honen Shonin carved by his own hand in 1207. The lateral shrines of somber black-lacquer picked out with yellow gold fitments are marked by considerable dignity and restraint, and they form the most striking objects of the interior. In them are mortuary tablets of the hallowed dead, among them devotees who have subscribed appreciable sums for the improvement and maintenance of the temple. The great metal baldachin, richly regilded in 1911, has for satellites numerous gorgeously decorated and gilded doban, or long hexagonal metal hangings adorned with a host of minor enrichments in the form of bells and other ecclesiastical symbols; and (hanging from the crossbeams) numerous fan-shaped metal keman — an embellishment often placed on the heads of idols. At the rear of the main altar, which is done in brilliant and noisy colors, is a painting of Seishi-bosatsu called happo shomen (‘ eight-directions front') from the (supposed) peculiarity that the eyes appear to follow the observer and to look at him from all angles. The bonzes insist that the work is that of the celebrated Kano Hogen (Masanobu), founder of the Kano school of painting (p. ccxxvii), and that it was painted shortly before his death. The spacious corridors which surround the priestly apartments are laid with ‘nightingale’ floors. Among the cherished temple treasures are many sliding screens, kakemono embroideries, and relics of Kumagai; some are to be seen in the above apartments, while others are stored in the adjacent godowns and are shown only during the annual festivals in April (about the 18th) and Sept. (20th). Photographs of the best-known objects are shown to those interested. A beautiful tapestry (never shown during the rainy season), in the form of a lotus-thread embroidery representing the Buddhist Paradise, is said to date from the 8th cent, and to be the work of a celebrated woman, Chujo-hime (b. 753;.d. 781), the daughter of Fujiwara Toyonari (and, if legend is to be credited, an incarnation of the Goddess Kwannon). It is very old and time-stained and is perhaps, in sober truth, either a copy of the original or the work of some 16th- or 17th-cent. craftsman.

In the suite which looks out upon the lovely little landscape garden (one of the daintiest and most gem-like in Kyoto, and which is called Yoroi-sute-no-ike, because Kumagaya Naozane threw his armor into it) are some nondescript sliding screens decorated in black and white by modern artists; the big, unhandsome one which displays a figure of Hotei, with the customary vulgar abdomen is the most striking among them. The Willow Room (which should be seen) contains some handsome gold panels by modern artists. The adjoining Tiger Room (which with the remainder takes its name from

the subjects portrayed on the dividing screens) is noteworthy for several masterpieces by Kubota Beisen. The elongated tigers that stretch over several panels were manifestly painted from an inspiration awakened by some traveler’s tale of what a foreign tiger ought to look like. The screens of the next room are mediocre, with mythological phoenixes and malformed, playful Dogs of Fo. The gilded Amida in the reliquary is excellent. Still better are two other figurines of the same divinity, concealed within secret shrines regarded as too sacred to show to ordinary folks. The gigantic sepia dragon on an old-gold ground in the adjacent apartment, as well as the folding screens portraying an Imperial procession in olden times, are ascribed to Tosa Mitsuoki (1617-91). The chokushi-no-ma (where Imperial messengers were formerly received) contains a set of striking screens (by Beisen) let into the rear wall and exhibiting bamboos, pine and plum trees in combination with gold-lacquer and metal enrichments. The kakemono with a specimen of the handwriting of Go-Kashiwabara (Emperor from 1501 to 1527) is said to be genuine. The quaint carved wood image (erroneously ascribed to Hidari Jingoro) is of Jurojin.

In the small room shut off from the corridor by a glass door is the heavy wood rice-pestle with which Kumagaya Naozane is said to have pounded rice for 60 consecutive days before being admitted to the monastic life; a picture of that worthy and some minor relics are also preserved here — among them the sword he hung on the pine tree near the temple entrance. The attractively enshrined kakemono in the adjoining room portrays Honen Shonin; Monju and Fugen are shown at the right and left. In an adjacent room, inclosed in a lovely reliquary, is a script copy (original in the Imperial Museum) of Shonin’s handwriting. The large pictures at the right and left depict historical episodes in his life and in those of his disciples. The minor relics of the great bonze — musical instruments, pieces of porcelain, lacquered objects, etc., are of interest chiefly to Buddhists. — The weather-beaten Amida-do at the right of the belfry and the stairs leading up to the terrace, has on its main altar a well-carved gilt figure of Amida ascribed to Eshin Sozu. The sepia dragon on the ceiling just above it is by Senyo Denko a bonze who at one time served in the temple. The small structure at the right, on a lower terrace, has for the central figure of the altar a Senju Kwannon; at the right is a smaller Kwannon and at the left an image of Kibidaijin (Makibi). Facing this building is the Kyo-do with a timestained image of Shaka surrounded by a number of seated figures; many paper prayers are tied to the wire netting of the door.

We now’ leave the compound and proceed up the incline at the right (of the big gate), pass over an arched stone bridge

spanning a lotus-pool, and come (right) to a small shrine dedicated to Naozane. The scores of small and lurid ex-voto tablets showing angelic children having their heads shaved, were placed there by the simple and credulous parents of youngsters who stood the operation without squirming only after they had been anointed with the soporific water bought at the little well near by! From this point hundreds of chiseled gravestones spread up and over the hill-slope; among them the tombs of Naozane, of Honen Shonin (who is also supposed to be buried at the Chion-in Temple) and other celebrities of the Jodo sect. Continuing up successive flights of stone steps, between long lines of mouldering tombs before many of which incense smoulders incessantly, we reach a tawdry little three-storied pagoda, with some wheezy old wooden figures in the lower part. The path which leads off at the left, between the lines of graves, goes to (5 min.)

The Shinnyo-do, a massive old temple of the Tendai sect, surrounded by an unusual number of fine trees. Save for the gilded statue of Amida (attributed to Jikaku-Daishi) on the main altar, the crowded interior contains nothing worth seeing. The approach from the main gate up through the green tunnel formed by arching trees is lovely in Nov. when the scores of maples blush to the first rude touch of winter. The Shinto shrine at the top of the ascending slope directly in front of the temple gate is the Yoshida-jinja.

The Ginkaku-ji, or so-called ‘Silver Pavilion,’ a time-worn and somewhat tawdry structure in a sequestered spot in the N.E. outskirts of the city (Pl. F, 2), is, despite the extravagant praise bestowed upon it by certain writers, of historical rather than present interest, and is worth seeing only if the traveler has the time at his disposal and has not seen the superior Kinkaku-ji (p. 483). The walk thither (an easy 50 min. from the Miyako Hotel) is one of the prettiest in the environs provided one goes round by the Kurodani and the Sliinnyo-do temples on the outward trip, crosses the flat (good walking) at the upper end of the valley, and returns along the shaded hillside road which flanks the gardens of the Honen-in, Anraku-ji, Nyakuo-ji Eikwan-do, and the Nanzen-ji — all of which can be included in the tour. A host of reddening maples glorify this stretch of highway in early Nov., and the tall thickets of bamboo, the groves of pine, cryptomeria, and other evergreen trees impart an ineradicable charm. Rickshas are in waiting at the hotel for the constitutionally tired or for the persons pressed for time, and 2 men can make the round trip (¥1.90) in about 2 hrs. For the carriage rate see p. 402. The excursion makes a delightful forenoon outing on foot. The route indicated should be followed, for as one crosses the lowland beyond the Shinnyo-do, the bulky, forestclad hills loom straight ahead, and the tints the maples

against the green background, broken here and there by splendid old temple roofs, show grandly. This aspect is missed if the journey be taken in the reverse order — unless one turns continually to drink in the beauty of the scene.

Immediately after the Onin war, when the financial position of the shogunal exchequer was as desperate as the poverty of the wretched people, the thoughtless and incompetent shogun, Ashikaga Yoshimasa, abdicated (in 1474) the shogunate in favor of his son Yoshihisa (then 9 yrs. old), and in order still to conduct the affairs of the Empire (and, incidentally, to ape his grandfather’s craze for extravagance) he built for himself (in 1477) a palace on the slope of Higashi-yama (whence his nickname, ‘Higashi-yama Shogun’). Within its precincts he constructed a so-called ‘Silver Pavilion’ (ginkaku) to serve as a companion edifice to the Golden Pavilion (kinkaku) which his forebear Ashikaga Yoshimitsu had built (in 1395) on the opposite side of the city. The most celebrated artists of the time worked at the ornamentation of the apartments, and the classical garden was laid out by Soami, a painter, poet, professor of the tea-ceremony, and a prime favorite of Yoshimasa. Here the latter dwelt until his death (in 1490), surrounded by bonzes, court dames, bepowdered poetasters, actors, and libertines, who abetted him in his caprices and efforts to immortalize himself while impoverishing the nation by his own prodigality. While battles were being fought by his exasperated and riotous subjects, this arid and frivolous pedant gave cha-no-yu parties, incense-comparing parties, and poem-comparing parties ad nauseam, and spent his time in sensuous and unlicensed revelry. He died before he could carry out his intention of plating the pavilion entirely with silver. Later the structure was converted into a temple (ji) under the name Jisho-ji, but it is better known as the Ginkaku-ji.

The admission fee of 20 sen per pers. pays for the bonzes (usually two — one perhaps as a check on the other) who conduct the visitor through the premises and call out in a singsong monotone the customary stereotyped phrases before each object. Covers for shoes are provided by them. No photographing or sketching is allowed without special permission. The first room into which the traveler is shown is inclosed by white (paper) fusuma bearing on their otherwise undefiled surfaces black palmettoes and crows drawn without grace or skill by Taniguchi Buson — an early Chinese painter (and poet). The old kakemono with 100 monkeys in various awkward attitudes is curious rather than attractive; as are likewise the 3 kakemono of Daruma and the 2 landscapes by Kano Tanyu. The gilded and seated image of Shaka, on the altar of the adjoining room, is one of the prettiest objects in the place. The gold crown, and the smooth, dead-gold surface of the plate-shaped mandorla, with its blue line following the contour of the head and shoulders of the saintly symbol of immutable eternity, is very striking. The stiffly carved figure at the right is the unattractive Daruma; that at the left is one of the Rakan. All three are attributed to Jocho (the 11th-cent. ancestor of a long line of famous sculptors, the most celebrated among whom is the master Unkei); but the two side figures are manifestly by a hand less masterly. The fusuma in this and the next room, depicting crudely drawn, clumsy Chinese men carrying others pick-a-back, lack both grace and refinement, and the ascription of

them to Buson is indubitably correct. The pink-breasted Kwannon (perhaps by Kano Sanraku) is charming, the womanly lines being half concealed by soft draperies. — The faded old sliding screens of the sometime throne-room are uninteresting; the old iron, porcelain, lacquer, and madreperl articles in the outer room belonged to Yoshimasa, as did also the attractive lacquered trays covered with gold tracery so deftly applied that it resembles fine damascene-work. Passing through several small apartments with uninteresting fitments we come to the Shrine Room, where there is a seated, sculptured wood effigy of Yoshimasa, strikingly realistic with its hard, staring ivory eyes. The carved Amida doesn't amount to much; nor do the black-and-white fusuma displaying land- and sea-scapes by Kubota Beisen. Just outside is a pond with many big brown and gold carp which respond to a hand-clap, and protect the home industry by greedily gobbling down the bread which the bonze sells at 4 pieces for one sen. The indifferent fusuma in the next apartment are also by Beisen.

Further along, around the comer of the corridor, is a small but historic room with a surface area of but mats; in the center of the floor is a sunken fire-box and in this an old iron tea-pot for boiling water for tea. This quaint cubby-hole, more like a toy room than the sometime habitat of a powerful sovereign, is as bare as a monk's cell, is ascribed to Soami, and is believed to be the first chaseki constructed in Japan in accordance with the restrictions of the rigid code governing the cha-no-yu. Beyond is another formal little pond, then a pretty, sunlit room overlooking a lotus-pool; the panel screens displaying marsh-grasses swaying in the wind are the work of the versatile Soami. As a termination to the inspection of the suites the visitor is finally conducted to a poor room hung with some kakemono (showing the omnipresent Daruma) executed in a hard and dry manner, where tea is sometimes served in the (supposed) cha-no-yu style. — Out in the ably planned garden are two huge piles of sand stiffened by exposure to the elements; one is shaped like a big dipper or a tobacco-pipe, and is called Gin shadan (lit., the silver front steps of a Shinto shrine), where the erratic Yoshimasa used to sit and hold communion with his friends; the smaller, conical one, about 6 ft. high and 10 or more ft. in diameter, is the Kogetsu-dai (Chinese: * Bright Moon Terrace’) where he was wont to soliloquize and gaze at the moon. The winsome little pond with its background of hills belted with lofty trees and idealized in season by the white and pink sazankwa (mt. tea-flower) which overshadow it, is charming, and means much more to the traveler than the maudlin vaporings of the effete high-revelers who dubbed the whimpering streamlet the * Moon-washing Fountain/ a stone in the water the

1 Stone of Ecstatic Contemplation/ and the dowdy little bridge, the ‘ Bridge of the Pillar of the Immortals;!

The Silver Pavilion, a two-storied, time-stained, rickety and vermiculated frame structure which to-day shows but faint traces (merely a fleck here and there) of silver about it, overlooks the pond from the S. side. An awkward, crudely made, bronze phoenix with outspread wings and a strong resemblance to a turkey-bustard stands on the apex of the roof as if ready to flop down after garbage. The building creaks ominously as one steps on to the lower floor, where visitors are shown a group of a thousand tiny images of Jizo. In the upper room, reached by steep stairs, is a shrine made from the twisted, weather-beaten trunk of a sandalwood tree, with a not unattractive carved and gilded image of Kwannon (falsely attributed to Unkei) crowned and backed by a round mandorla. Tea in a cup on a presentoir in the cha-no-yu style stands before it. A grove of tall and slim bamboos flanks the pavilion in the rear; the view from the balcony, over the garden, is pretty. — The return road from the Ginkaku-ji is the first narrow one at the left after leaving the inclosure. A 10 min. walk along this brings one to the sometime fine old Honen-in (Pl. F, 2), delightfully sequestered in a bower of lofty trees and bamboos on a hillside. Its clean and model garden, the sands of which are stamped with crests and Buddhist symbols, ranks high with Japanese fond of archaic things, and it is quite different, in minor ways, from other temple-gardens of the city. The wild wood which slopes back from it on the E. feeds a number of tinkling rills that leap down through the deep shadows and over the roots of the forest giants before plunging with an incessant musical note into a shallow pool at one corner of the dingle. At times the solemn old bronze bell in the gaunt belfry adds its querulous voice to the monotone, to remind one of its happier and more prosperous past. — A further 15 min. stroll along the highway brings one to the decaying Anraku-ji, also on the hillside and in a tangled garden which flames with azaleas in the spring. Another 1/2 hr. walk and we come to the equally old (and uninteresting) Nyakuo-ji, the one-time hereditary seat of the Fujiwara Uona family, and locally celebrated for its many maples, which here turn crimson earlier than those in other quarters. Five min. beyond it is

The Eikwan-do (Pl. F, 3), a Buddhist temple of the Seizan branch of the Jodo sect, erected in 855 by the bonze Shinsho, and rebuilt on a larger scale in 983 by the bonze Eikwan — whence its name. The new temple, on a lower terrace than that occupied by the old one, dates from 1912; the approach to both is unusually picturesque. A little lotus-pond, overhung by weeping willows, nestles in a depression at the foot of the slope, and in autumn the display of reddening maples is

so gorgeous that thousands of people foregather here from all parts of the city to enjoy the sight and drink tea served on the platforms ranged along the edge of the pond. Pilgrims and credulous folks also come hither to see a locally celebrated carved wood image of Amida, called Mi-kaeri no Amida, or ‘Amida Looking Sidewise,' about which a silly story is in circulation. Tradition has it that the profoundly religious Eikwan was in the habit of walking round the figure, constantly repeating the Buddhistic formula of Namu Amida. One day, while thus employed, he heard his name called, and, looking toward the statue, he saw that its head was turned (toward the left) and that it was gazing at him. It has since retained this pose, despite the fact that an incredulous daimyo in an effort to draw its attention in another direction, stuck a sword in its breast — whereupon it bled profusely! It is about 30 in. high and is as crudely and stiffly carved as some of the similar miracle-working images of Latin America. The inclosing shrine is screened from the public, but for a small fee the priest in charge conducts one to the right side of the altar, mounts a platform, lights tapers, and in a loud voice reads the alleged history of the figure; then slowly and dramatically he rolls up a curtain until the image is seen looking out and down upon the beholder. One then passes along the front and is shown the blood-stains produced by the daimyo’s sword! At the right of the reliquary (which is painted in appalling colors) is another one containing a sculptured wood figure of Eikwan — in whose direction the miraculous Amida gazes steadily. The old and faded mandara at the left of the main altar portrays the numerous shining temples of the Buddhist heaven. The old campanario stands up at the right of the temple, near the graveyard. — A further 10 min. along the main road toward the hotel brings the traveler to the huge temple of

Nanzen-ji (Pl. F, 3), the central seat of the Rinzai branch of the Zen sect. The Emperor Kameyama erected a palace here to which he retired after his abdication in 1274, and this was converted into a temple (by the bonze Busshin-Zenji) in 1290. The original structure endured until Ieyasu’s time, when it was burned. This shogun caused it to be rebuilt in 1606, but the structure was destroyed by fire in 1895; the present temple dates from 1907. The colossal two-storied, weatherbeaten gate is a relic of the 17th cent, and is of sinister repute among the Japanese, who know it as the place where an infamous robber, Ishikawa Goemon, was captured in 1632 and condemned with his unfortunate son Ichiro to be boiled to death in a cauldron of oil. This horrid sentence was carried out in the dry bed of the Kamo-gawa, before a multitude of spectators. — The grounds are spacious and park-like, and are approached along an avenue of noble cryptomeria trees

The new temple is a clean, handsome, dignified structure, on a broad granite plinth, and with a blackened concrete floor. Huge keyaki columns finished in the natural wood support the massive roof, the ceiling of which is almost covered with a minatory dragon (by Keinen) painted on a white background. The chief altar stands high at the back of the main hall, on a huge raised framework of black- and red-lacquered wood. The central figure is Shaka, who is flanked by his faithful Monju and Fugen,* the broad, somber background against which the gilded figures show serves to produce a striking contrast. A covered passageway connects the building with the old apartments (Hojo) at the rear; the office entrance is at the right. The 5 horizontal lines on the inclosing wall testify to the Imperial patronage.

Entering through the office (5 sen fee) the visitor is conducted to the first room, which contains a series of badly faded fusuma (by Kano Motonobu) displaying landscapes and geese. The next room is called Jako-no-ma, from the civet-cats painted (along with cranes and landscapes) on the fusuma. The Chinese scenes in the next room, by Kano Eitoku, are not beautiful; the coffered ceilings of all these rooms carry tiny sunken panels. The adjacent room was also decorated by Eitoku; the old palanquin, the sometime State vehicle of the ill-fated Emperor Go-Daigo, is regarded as one of the most precious of the temple treasures. The Crane Room carries decorations by Motonobu, and the fusuma which shows a crane standing on a tree-trunk is in his best manner. The three rooms of the next suite, or Sho Hojo, are called the Tiger Rooms, from the decorations (by Kano Tanyu) on the big fusuma inclosing them. Great tigers, fearfully and wonderfully made, stalk all over the screens, some of them almost as big as horses, with bleary, saucer-like eyes. One in particular, shown in the act of lapping up water from a brook, is considered a masterpiece of action and skill in drawing. Travelers who have seen real tigers will form their own opinions without violating any of the accepted canons of criticism. The pair of old-gold folding screens decorated with fans are by Kano Eitoku, and there are others of the same kind by him in another room. His best work is seen in an adjacent room which was once the chosen retreat of the Emperor Go-Yomci (1587-1611). The big panel in a recess at the left, with a landscape and a waterfall on it, is decidedly inferior to the extraordinarily handsome and striking gold screen representing a Chinese palace with an Imperial garden where a number of graceful Chinese grandes dames are strolling. The composition is unusually felicitous; the fine, supple figures arc drawn in harmonious colors, the pliant folds of the rich draperies are close and clinging, and the aristocratic faces are excellently modeled. All the breadirii and freshness of a forma! Chines j

garden with its dwarf trees and lotus-pools, its fantastic rockeries and willow-pattern bridges smothered in flowers and plashed with sunlight, show in the picture, and are enhanced by a cloud effect which recalls certain of those employed by Murillo as a background for his madonnas. Few better examples of Eitoku in his best manner will be found in Kyoto, and few pictures as old as this one (painted between 1543 and 1590) are always as well preserved.

Certain of the most precious of the temple paintings are kept in the storeroom and are brought out only on special occasions. Prominent among them are some good kakemono, treated in harmonious grays and pinks by Chinese masters; and a superb Kwannon by Mokkei; the fine ecclesiastical face of this is drawn with a high degree of skill; the red robe is patterned with golden disks, and the effect is one of engaging harmony. The Death of Buddha and his Entrance into Nirvana (a favorite theme of Chinese and Japanese artists) is time-stained but still pleasing, and is ascribed to Choshikyo. A magnificent Shaka flanked by Monju and Fugen, the work of Cho Densu, is well worth looking at; though lacking somewhat in softness, the central figure is amazingly virile, and the composition is marked by character and originality. Among the several pictures by Kano Tanyu the most noteworthy is a striking piece of portraiture representing a kindly old priest with a fine, genial face and eyes remarkably instinct with life and character. He is clad in a pale yellow robe with a black border, and seated in a Chinese iron wood chair, with his Chinese shoes on a stool in front of him. Tanyu also painted the three portraits of the Emperor Kameyama and the two abbots who founded the temple, seated in great armchairs, in the Chinese manner. The most satisfying among the many kakemono are those drawn in a delicate scale of silver grays.

A graceful Kwannon by Kano Yasunobu (18th cent.) may also be seen here. — The temple garden is a small, bare, sanded space laid out in the severe cha-no-yu style and ornamented with a few scrawny shrubs. The daybreak and sundown bell is rung from a compound in this temple (and alternately from the Kurodani). — Between the outer entrance to the park and the (15 min.) Miyako Hotel, one passes the Ke-age, where the Lake Biwa Canal enters the city.

Central and Southwest Quarters.

♦Mikado's Palace. *Nijo Castle. *Higashi Hongwanji. ♦Nishi Hongwanji. Toji. Katsura Summer Palace.

The *Mikado's Palace (Gosho), a group of modestly furnished edifices (Pl. C-D, 2) in striking contrast to the splendid Nijo Castle, stands near the center of a wide park-like space (1 M. long by 1/2 M. wide) a short way E. of the original palace built by the Emperor Kwammu in a.d. 794. Successive fires

have long since burned every vestige of the first structures, and time and circumstances have removed the detached houses of the court nobles (Kuge) and other functionaries which at one time occupied the space between the present palace group and the girdling outer walls. Oda Nobunaga and Toyotomi Hide yoshi repaired and embellished the royal residence during the 16th cent., and after the devastating conflagration of 1788, Matsudaira Sadanobu (or Matsudaira Elchu no kami, writer, and one of the great ministers of the Yedo shogunate) rebuilt it on the model of the present one. In 1854 this suffered the fate of its predecessors, and the modem structure rose from its ashes. Four iron-embossed but otherwise plain gates admit to the palace grounds, which are inclosed by a plastered wall distinguished by upright beams and five horizontal lines, known as Mi Tsuiji or Sujv-bei. It is ornamental rather than defensive, and the chrysanthemum crests on the antefixes of the coping proclaim its royal character. For permits (no fees) see p. 400. The N. gate is called Sakuhei-mon.

The traveler will be disappointed if he looks for anything princely or palatial in this sometime home of the late Mikado — and that of the present one when he visits Kyoto. Most of the Emperors of Old Japan observed a simple and almost monastic mode of life, and many generations of the august ancestors of the reigning sovereign lived here in a simplicity which oftentimes bore a grim likeness to penury. The choice woods used in the construction of the palace (flawless hinoki and keyaki) impart a certain richness and an austere stateliness which somewhat moderates its manifest sobriety, but there is a total absence of the heavy, overwhelming gorgeousness and glitter that characterizes Nijo Castle, the abode of the militant shoguns. It is a significant expression of the old Yamato or Shinto spirit, which enjoined purity of life as well as of heart. The old smoky browned roof (called Hiwadabuki because thatched with the bark of the hinoki tree), in the pure Shinto style, has rows of tiles along the ridges. The general ecclesiastical aspect of the structure is widely at variance with the accepted Western notion of a palace. The fact that it dates back no farther than the middle of the 19th cent., coupled with the instinct of restraint, the repression of all fancy, and the manifest striving for the attainment of a Spartan simplicity, accounts for the absence of the usual portable decorations by the earlier masters of the Kano and Tosa schools of painting. Chinese influence (an ancient inheritance) manifests itself in the (unusual) double doors swinging from hinges. The palace interior is most inviting in the summer, when the wide, wind-swept halls are shaded and cool. But on a gray day in autumn, when the north wind sighs and moans through the sepulchral pines, and the falling leaves shiver and flee from its chill caress, the structure takes on a somber, cheerless air that is doubly accentuated by these same cloister-like labyrinthine passageways, and long chilly corridors. The real luxury of the palace inclosure is manifested in the exquisitely beautiful garden on the spot where the old gosho stood; the traveler will miss one of the finest things in Kyoto if he fails to see it. A more glorious stretch of real forest and 'deep tangled wild-wood' captured from the mt. fastnesses, transferred to the heart of a city, and confined there within four walls, does not exist in S. Japan. Its serene and stately beauty is marked by a feminine charm and winsomeness that haunt one. To the nature-lover it makes up many times over for the lack of ornateness and glitter in the palace itself.

Entering the park by the E. gate, we follow the wall to its angle, bear to the right, and present credentials to the guard (an officer of rank) at the first gateway. The visitor is asked

to sign his name in the Palace Register (morocco-bound and stamped with a golden 16-petal kiku), and is then conducted across the wide graveled walk to

The Omiya Gosho (* Emperor’s Imperial Palace'), where formerly dwelt those emperors who retired in favor of a successor. The rooms are carpeted and shoes need not be removed. The movable partitions and cedar doors of the first suite are decorated with landscape views, pine trees, and plum blossoms, by modern artists of meager attainments. The gold screens which inclose the living-rooms of the ex-Empress (who was a patron of husbandry) depict in various forms the progress of growing rice from the time of planting it until the grain is harvested. The panels of flowers and birds, done in a masterful way on stippled gold, are by Kishi Gantai. The Brussels carpets suggest the interior of a three-decker tenement rather than a palace. The cedar door at the end of the first corridor, showing a tiger on one side and a bear in a snow-covered forest on the other, scarcely deserves its exalted position. In the corridor at right angles to this one is a door embellished with a winter scene and Chinese sages on one side, and on the reverse a Chinese student poring over a book by the light of a group of glow-worms which he has caught and imprisoned in a translucent bag! The screens of the rooms immediately succeeding are decorated with birds, deer, iris, peonies, and wistaria, as well as river-scenes, seascapes, and a fine distant view of Arashiyama; the cedar doors exhibit playful Dogs of Fo, and a warrior on horseback. The uninteresting rooms near the kitchen are as plain as poverty and seem little removed from it. — The visitor is now conducted back to the entrance, thence along the side wall to a small door opening on to

The Sento-Gosho Garden, a regal retreat with its lofty forest giants, its beautiful deep lakes, quaint bridges, sequestered walks, and dales and dingles that one usually associates in the mind with dryad oracles and sylvan deities. No wood nymph ever flitted through daintier and more umbrageous dells and embowered ravines than those which lead away from the pebbly beaches that follow the sinuous shores of the silent lakes. The garden is as noble in size as the scores of models of it scattered throughout Japan are artistic in their diminutiveness. It is seen at its best in the spring wfcen the wistaria bowers are a glory of grace and color, and in Nov. when the reddening maples and the lofty ichb trees cover the winding paths with a rustling carpet of royal crimson and golden leaves. Half a hundred varieties of rare trees and a host of beautiful, semitropical plants and flowers flame with color and add charm to the garden, across which huge trees, of an age much greater than the present palace, send their half-exposed roots in serpentine length — Facing the gate through which the visitor

passes out of the garden is a wide road flanked by a wall (right), which one follows to its angle, then turns up at the right to the Mi Daidokoro Go-mon, or 1 Gate of the August Kitchen.’ The office of the custodian is just within, at the right. Here one enters one’s name in another register and is provided anew with a guide to conduct him through

The Main Palace. The antechamber, the sometime waiting-room for nobles, is inclosed by sliding screens displaying (modern) sepia drawings (of doubtful merit) of cherry trees by Hara Zaisho, cranes by Kano Eigaku, and frowsy, loosejointed tigers by Kishi Gantai. One proceeds thence over the 4 nightingale ’ floors of a breezy hall, and through the Denjd (a dining-room bare as a monk’s cell, where courtiers used to dine) to the Seiry o-den, or ‘ Pure Cool Hall,* so named for the small rill which tinkles down a walled sluiceway near the outer steps. The visitor is expected to be satisfied with merely a peep into this sacrosanct room — a part of the suite forming the one-time living-rooms of the late Emperor, and latterly used only for special festivals and receptions. In one comer of the polished black-wood floor is a cemented space about 8 ft. sq., upon which, in rainy weather, fresh earth was strewn so that the Mikado might worship the spirits of his forebears without descending to earth on the sanded floor of the courtyard. The copper disk let into the cement covers a sunken opening where a charcoal fire heats the room in winter. The decorations in blues, browns, and greens, on the sliding screens, are by Tosa Mitsuhiyo. In the center of the raftered apartments (63 ft. long by 46 wide) stands the mi chodai, or throne of the Mikado, in the form of a species of baldachin, of Chamcecyparis (as used in constructing Shintd shrines) inclosed by filmy silken curtains and guarded by two Korean lions; the Chinese chair inlaid with madreperl, used by the Emperor at receptions, is a counterpart of the one in the Shishin-den. The wide court on which the room fronts is sanded and combed as with a harrow; at the right and left of the steps leading down to it are two fenced-in clumps of bamboos (ckiku) called respectively Kan-chiku and Go-chiku, from Kan and Go, two ancient kingdoms of China.

Passing underneath a corner section of the attractive Shinto-atyle roof one enters the Shishin-den (‘ secret purple hall/ or ‘purple hall of the N. star '), a vast room (44 by 120 ft.) similar in construction to the Seiry o-den, bare save for the throne in the center, and dedicated to the Mikado — who held special audiences here or officiated at important functions. The simple throne-chair is finely inlaid with nacre and embellished with brass ornaments; the chaste and dainty white silk figured draperies are renewed twice each year. The colored silk ribbons are stamped with designs of sparrows and other small birds. The. squat] lacquered stands on either side of the

throne are for the Bword and jewel — the Imperial insignia. Conspicuous objects at the back of the hall are the nine large rectilinear screens (called Seiken Shoji, or 1 Screens of the Sages 7) which form the inclosure. Eight are adorned each with four large figures of Chinese sages — solemn-looking, slanteyed worthies clad in red, white, and black robes, and who form a long procession across the wide room. The ideographic squares at the top of the panels relate the history of the sages (subjects of the Tung Dynasty), and the central panel carries decorations of turtles, wave-patterns and Dogs of Fo. The originals of all the screens (which are copies by some deft pupil of the Kano school, perhaps Norinobu, 1692-1731) are ascribed to the master Kosesio-Kanaoka, who (according to the legend) once painted a horse for the Ninna-ji so true to life that every night it escaped from its frame and galloped about the neighborhood — wherefore its eyes had to be

1>ainted out so it could not see! The inner sides of the panels ack delicacy of touch and are covered with painted birds of brilliant plumage.

The spacious hall with its huge mediaeval roof-beams and highly polished floor, its memories of Imperial presences and its silent procession of wily Celestials trailing stealthily across it, is not wholly devoid of charm. The rows of rusted iron hooks that pend from the ceiling hold up the slatted doors opening on to the sanded court. The 18 steps leading down to this are called Jii-hakai, and they symbolize the different grades into which government officials were formerly divided. Anciently those received in audience by the Mikado stood on the step corresponding to their grade; those entitled to ascend to the hall were known as Den-ju-bito; and those without rank, forced to stand at the tail of the procession, were called Ji-ge. because they had to stand ‘down on the earth.* The small cherry tree at the left of the foot of the stairs, the Sakon no sakura (lit., ‘Body-guard of the Left’), is prominent in Japanese heraldry, and equally, so is the wild-orange tree (heavy with tiny fruit in Nov.) called Ukon no Tachibana (‘Bodyguard of the Right’). Both are planted in obedience to an ancient custom. The gate at the left is the Sunflower Gate; that at the right, the Moon-flower Gate; and the main one, with three doors, the Shomei-mon, or ‘Gate of Great Brightness.’ The ideographs in the newly gilded panel above the entrance of the hall spell Shishin-den, and are by the hand of a celebrated calligraphist. To complete the inspection of the Palace group the visitor is now conducted to The Ko-Gosho (Minor Palace), the apartments in which date from 1854 and are decorated by modern artists. The inner sides of the sliding jusuma display conventional seascapes, some delicate landscapes in the Tosa style, processions, views of Fujisan, and what-not. The outer sides have, various scenes

representing the four seasons, the first showing a group of daimyos and other notables making New Year calls upon the Emperor. The decorations command attention by the preponderance of an intense cobalt blue color, which takes the form of broad bands of unequal lengths representing cloud effects. Many of the screens are adorned with heavy silken cords, while the corridor doors, embellished with polished metal enrichments, are double and hinged after the Chinese fashion. The rooms are shown en suite and the visitor looks through two thrown into one to a third, the Audience Chamber, in which a low dais served as the Imperial Throne, where the Emperor received shoguns and daimyos. Beyond the first suite is a corridor with big cedar doors finely decorated with plum blossoms and Chinese figures. The fusuma are companion pieces to those of the first suite, and they symbolize spring, summer, autumn, and winter by pictures of the Palace interior in process of alteration necessitated by the changing seasons.

The O Gakumonjo (August Imperial Study) contains several rooms, the finest of which is the Gan-no-ma (‘Wild Goose Room’) with its lovely old-gold fusuma covered with beautifully painted wild geese in harmonious colors and many attitudes — the work of Reman Kishi. The second suite of three small rooms called respectively Gedan (for persons of lesser rank), Chudan (for those of higher rank), and Jodan, or the innermost room (a sort of tribune where the Mikado sat and received visitors), are charmingly decorated with animated scenes from Chinese life — castles, land-views, seascapes, and what-not — the 1st by Hara Zaisho, the 2d by Tsuruzawa Tanshin, and the 3d by Kano Eigaku. The similarity and progressive continuity of the work suggests that it might have been executed by one, rather than three different artists. The flower-car painted on the cedar door at the end of the corridor is attractive.

The Chrysanthemum Room (Kiku-no-ma) carries conventional decorations by Okamoto Sukehiko. The Corchorus Room (Yamabuki-no-ma) displays graceful branches of yellow yamabuki the work of Maruyama Okyo. The herons, water-grasses, and snow-scenes on certain of the cedar doors of the corridors are worth looking at. One door is ornamented with a turtle; another with some wild geese in flight, in white, subdued browns and gold; another with a big bear in a forest buried deep in snow; and still another with a superb peacock whose gorgeous, outspread tail extends over the adjacent panels. The scene depicting Chinese boys at play is not without merit. The visitor is turned back from here, as the eleven remaining apartments (called Tsune Goten) are occupied by the Mikado when he visits Kyoto and are not open to public scrutiny. In this retired place many generations of sovereigns have lived and died; not a few of them knowing practically

nothing of their empire and its people, and unknown of them. The decorations of the apartments are similar to those we have seen, the most conspicuous among them, from an artistic viewpoint, being the three fusuma by Raisho Naka shima, exhibiting scenes from the Wakanoura coast, in monochrome. — The Meteorological Observatory stands in the Palace grounds, and at the W. end of the park is the little Go-o-jinja, which figures on the 10 -yen banknote issued by the Nippon Ginko.

The *Nijo Castle (Nijo-jo, or Nijo-no-shiro) known also as the Nijo-no-rikyu or ‘Detached Palace of Nijo’ (a name given to it when it became Imperial property after the Restoration), stands in the West-Central quarter (Pl. B-C, 3) hard by the Nijo Rly. Station (1 hr. from the hotel; jinriki, 40 sen; tramway, 7 sen). Special permit (comp. p. 400) necessary. It is incomparably the finest relic in Kyoto of the Tokugawa shogunal epoch and it ranks as one of the most important monuments of this dynasty in Japan. Fees are not accepted and should not be proffered.

Despite the appearance of solidity imparted by the massive, fortress-like wall surmounted by white turrets at the angles; and suggested also by the encircling moat, the structure within is not a castle in the accepted sense, but is a frail, temple-like, tile-roofed frame building, gray with age, but happily in good preservation, with an interior gleaming with golden ornament — a queen’s boudoir rather than a warrior’s fortified residence. Oda Nobunaga built the original castle in 1569 for his protege Ashikaga Yoshiaki (15th and last shogun of the line, who later tried to kill his benefactor), as a sort of opulent token of his almost unexampled power, and as an unmistakable indication that the might and wealth of Japan were represented here and not in the Gosho — where the Emperor dwelt. In 1600, Tokugawa Ieyasu renovated it and converted it into a residence for the shogun when he might visit Kyoto; he resided here in 1611; the shogun Hidetada did likewise in 1617 and 1626; and the shogun Iemitsu in 1634. Henceforward for 2 centuries no shogun came to Kyoto, and the Palace remained practically deserted. In the 18th cent, a destructive fire destroyed a number of the buildings, prominent among them the Hon-maru, or Chief Keep. In 1863 the Tokugawa shogun Iemochi repaired hither at the call of the Emperor Komei, and received orders from him to expel the foreign barbarians (the Americans under Commodore Perry) from Japan. Here, too, on a fateful day late in 1867, the last of the shoguns, Yoshinobu (or Keiki), handed his resignation to the Emperor, and here on April 6, 1868, the latter (the late Mikado), once more in possession of his ancient heritage and ancestral right, met the Council of State and pledged himself to establish a deliberative assembly and to decide measures of national import by a majority of public opinion! Subsequently the Palace was used as the Kyoto Prefectural Office, and during this occupation certain iconoclastic officials committed acts of vandalism which wrought destruction to many of the works of art preserved in it. Those which remain, in the form of decorations, are highly instructive, since they show the extraordinary inequality of the work of the greatest masters of the 17th cent., as well as the naive taste (or lack of it) displayed by the splendor-loving shoguns of that eventful period. They are also typical of the diametrically opposed tendencies of the Mikado — who lived the simple life in the broadest sense.

The critical traveler is apt to regard certain of the decorations as overwrought and oppressive, and to detect an admixture of coarseness in their barbaric glitter. The motives are larger, and on a more grandiose scale than one usually sees in Japan, and are marked by a rich and exuberant fancy very popular in the 17th cent. There is considerable diversity in the

decoration of the different apartments, which are constantly being restored. Some of the best work of Hidari Jingoro and other of the early master craftsmen may be seen here, and the traveler with the time at his disposal should not miss it. The woods used in the construction of the Palace are hinoki and keyaki. Tough native paper overlaid with gold foil, and regal silks are much in evidence, while kakemono are conspicuous by their absence. Mural- and panel-painting has been frequently resorted to, and no structure in Kyoto contains finer work in metal. Certain of the bird ornaments are modeled with chalk, then painted over to give the impression of thick gold-, lacquer. The floors are of polished wood covered with the special kind of soft straw mats customarily used at the Imperial Court. The gorgeous interior with its exhaustless legacy of beauty is very suggestive of the brilliant life of earlier days, as well as indicative of the mutability of human affairs.

The splendidly mediaeval old East Gateway (Higashi O-Temon) near the S.E. angle of the girdling wall, and through which we enter the castle grounds (a finer and more artistic structure than the Kita O-Temon at the N. end), is approached by a flat, pebble-strewn bridge spanning the Hiri-kawa — a foul stream which races madly along as if anxious to hide its soiled waters in those of the sea. The gate itself is an unusually ponderous relic, iron-strapped and practically covered with huge iron bosses employed as constructional expedients to conceal the big bolt-heads. The massive iron hinges and the great bolts which secure the gate resemble those of a giant’s keep. The upright timbers are set in handsome green bronze sockets; the sloping wall of unjointed but excellently matched stones is less cyclopean than those of the Osaka, Nagoya, or Tokyo castles, and is surmounted at the angles by graceful white turrets, or yagura, with jaunty, uptilted roofs, and overshadowed by a line of fantastic pine trees whose images are reflected with startling clearness in the still waters of the moat (O-hori). A symmetrical line of greensward runs along the crest of the wall, above which the tip of the palace roof is seen. Unlike other Japanese castles, which usually stand on high places, the Nijo occupies a restricted compound even with the city floor and on a level lower than that of the wall. The officer stationed at the postern challenges the visitor, who must show his pass. If this is in order, he is conducted to the office just within, at the right, where he signs his name in the Palace Register and is assigned a guide. The old-gold screen in the office, showing a fine black eagle in a whirl of energy and fury, is modern.

The visitor is first conducted round the corner of the wall to the regal Kara-mon (called also Yotsu-ashi-mon from the 4 supporting pillars), a gate believed to have come from Hideyoshi's palace at Momo-yama. It is conspicuous for a maze of gilded metal-work and polychrome wood-carving, with beam-ends sheathed in brass covered with intricate tracery picked out in black, and Imperial 16-petal chrysanthemums. The outer panels carry sculptured cranes, flowers (chiefly peonies), and butterflies executed in a spirited manner;

the inner ones depict a striped tiger emerging from a jungle to an encounter with a glaring-eyed dragon; and a shishi in the unusual attitude of scratching his ear with his hind paw. The gray walls with vertical beams set at intervals in the plaster, and topped by a narrow tiled coping, are excellent specimens of the style called Suji-bei (or hei) — lit., ‘lineage wall,’ the 5 stripes denoting that it is reserved to the special use of the Imperial Family. After passing through the postern at the right, one notes that the inner side of the gateway is quite as elaborate as the reverse, with a multiplicity of carved and multi-colored phoenixes, butterflies, and foliated peonies surrounding a Chinese figure astride a dragon-like tortoise. Its splendid character is enhanced by a gracefully curved roof in the pure Shinto style of architecture. Peacock-blues, bronze-greens, and white are the predominating colors.

The Palace Entrance has a porte cochere called O Kurumayose and an unusually attractive double roof. The big carved wood panel carrying five polychromatic peacocks in high relief, standing or flying amid foliage, with the iridescent sheen of every feather glinting in the sunlight, is almost as good as the best work of Hidari Jingoro. Shoes must be removed (foot coverings are provided) in the spacious flagged vestibule. The decorative richness of the apartments visible beyond this is marred by the clashing colors of the (modern) coffered ceiling of the corridor — which has medallion-like sculptured panels set into a wood ventilating grill, and floors of polished keyaki.

The Imperial Suite, called Yanagi-no-ma (Willow Tree Roopis), from the yanagi with which it is embellished, has some exceptionally wide fusuma adorned with willows (painter unknown) on a dead-gold ground; at the left are numerous friezes carved with peonies. The 16-petaled chrysanthemum crests so much in evidence were added to those of the Tokugawa in 1885. Each of the sunken panels of the coffered ceiling carries 5 flower circles painted in brilliant colors, less handsome than those of the adjoining room, with its clusters of grapevines on a gold ground. The pine trees here give the name Wakamatsu-no-ma (‘young pine tree’) to the room. The adjoining apartment calls for no special mention.

The three Bamboo and Tiger Rooms (Takeni Tora-no-ma), conspicuous for their grandiose effect rather than for artistic worth or beauty, are inclosed by a number of huge sliding panels with a background of dead gold;.against this an effective bamboo grove is painted, through the slim trees of which winds a succession of bizarre, round-eyed tigers (tora) in the various attitudes of repose, vigilance, combat, and flight. Between the first (formerly a waiting-room for sam-

urai) and second rooms are large, bedizened cedar-wood doors painted with tigers in a bamboo jungle on one side, and some strange goats on the other. On one of the doors is a bizarre Korean lion execrably done by Kano Tanyu, and pointed out with pride because the eyes seem to regard one from different angles. The adjoining room, the Shikidai-no-ma, where the Council of State formerly assembled, has a handsome coffered ceiling on each sunken panel of which are two gold phoenixes with outspread wings. The painting of the big pine tree is not a masterpiece, but the dainty little panels displaying wild geese flying against a gold background are noteworthy. In the adjacent corridor are other cedar doors decorated with storks on one side and goats, manifestly painted from memory, on the reverse; the rich coffered ceiling shows conventional designs on a dregs-of-wine ground, and the metal clasps of the joinery carry embossed Tokugawa crests.

The O-hiroma, a suite of 3 rooms, the 3d of which we enter first, contains an extraordinary pierced and sculptured ramma (above the sliding wall screens) 4 by 10 ft., clasped with rich, chiseled metal corner-pieces, said to be of one piece of wood, and ascribed to Hidari Jingoro; on one side are splendid peacocks surrounded by pine twigs and foliage, and on the reverse, groups of gorgeous full-blown peonies and other flowers, all in high relief and marvels of grace and beauty. The skill with which the artist has utilized the two planes for an entirely different composition, and the striking attitudes of the birds — which seem almost alive and ready for instant flight — make the object one of the most masterly in the Palace, and accounts, in a way, for the reverence which Japanese attach to Jingoro’s memory. This panel alone will preserve his name from oblivion. The room is further embellished with a number of flat, oblong kugikakushi (employed as artistic expedients to hide the bolt heads) wrought in the style of the folded paper (used for wrapping up gifts) called noshi (long, thin strip of dried sea-ear attached to a present or served upon a table on ceremonious occasions). The surfaces are skillfully chased with phoenixes, crests, and what-not. On one of the fusuma is a virile and resplendent peacock standing on the mottled, moss-flecked trunk of a pine tree, the personification of grace and elegance, with its glorious tail blending with the spots on the trunk, and its iridescent head, neck, and breast shading into the green foliage above. The ramma between this and the adjoining room, with its seductive polychrome phoenixes and full-blown peonies in high relief, all splendidly executed and embellished with gold and color, can be seen to better advantage from the other side.

The two rooms, called the Go Taimenjo (Audience Hall), are in reality one; the lower or outer part was the gedan, where the dainty os oritjie commonalty waited; the inner or

upper half (on a slightly higher plane), the jddan, where the shogun sat. The lovely old-gold panel in the upper left-hand corner of the gedan, showing a superb peacock flying through space (an unusual conception), is extraordinarily charming. The rich panels adorned with monstrous pine trees drawn with an admirable fidelity to nature by Kano Tarty u, shows that artist at his best. They should be viewed from the lower end of the suite. That section which almost covers the recessed wall of the tokonoma (alcove) at the upper end of the jodan, and which seems to stand out bodily from the magnificent gold background, is bewildering in its effect. This has been shrewdly enhanced by the placing, at the foot of the tree, of a finely sculptured black and white crane painted in a startlingly realistic manner. The ceiling of the jodan, with its

graceful central upsweep, is a symphony of red and white and blue and gold. The Damascene metal clasps recall certain of the fine Moslem work in the Omaiyade Mosque at Damascus, and demonstrate with what skill the art of the enchaser can be combined with that of the enameler. At the right of the recess is the customary, but in this instance unusually graceful, chigai dana (uneven shelf) enhanced by some good chased metal enrichments. At its right is the quasi-secret apartment called the mi-chodai, where the samurai guards of the shogun formerly stood unseen by those in the audience hall; the birds on the door panels are the hinkei (golden pheasant). The huge crimson silk cords and tassels, the black-lacquered framework embellished with massive and richly chased metal ornaments showing phoenixes, fine tracery, and Tokugawa crests, besides being effective and opulent, indicate their Imperial character. The gold panels of the interior, with figures and landscapes, are mediocre. Before leaving the tokonoma note the splendid floor-beam of the alcove, a delight to the eye of an architect. It is a beautiful piece of oiled and polished keyaki, 6 in. thick, 3 ft. wide, 18 ft. long, and practically indestructible. The corridor which leads from the O-hiroma flanks

The Landscape Garden, designed by Kobori Enshu. The cherry trees are beguiling in April, and the maples in Nov. The pond, which formerly received water from the Kamogawa, is now filled 3 ft. deep with fine sand — a style known as Kare-sansui. The fantastic rocks which line the serpentine banks are as curious as they are costly. — The cedar doors at the end of the corridor are adorned with flowers, leafage, and bamboos of no merit; those opening on the Sotctsu-no-fna, or Sago Palm Room, are ornamented with specimens of these

Ealms. Formerly all the fusuma were so decorated, but they ave perished and have been replaced with wide panefs covered with gleaming gold foil.

The BoTANrNO-MA, or Peony Room, has partitions deco-

rated with full-blown peonies badly done by Mr. Kano Naonobu. To this artist (1607-50) is also ascribed a famous wooden door located at the end of the corridor; here the visitor is solemnly and reverently halted before the crudely drawn outline of a rude fishing-boat, on the stern of which stands a dejected white heron known far and wide as Naonobu no nure-sagi (Naonobu* s ‘Wet Heron’). So many writers who have passed in review before this sorry and bedraggled bird have classed it as a ‘precious work of art/ and a ‘priceless masterpiece/ that the traveler deprived of an artistic education, and devoid of that special intelligence which enables one to discern non-existing beauty, stands before it confused and dumb. According to the Palace records the original door (of which the present daub must be a wretched copy) pictured the heron in a rainstorm. When the Palace was used as the Kyoto Prefectural Office, the employees thought so little of Mr. Naonobu* s supreme effort that the door was used as a bulletin-board and was for a long time covered with paste and announcements! — We now enter the 3d room of the Kuro-shoin: the pine trees of the upper panels of this are the only objects worthy of attention. The 2d room opens into the first and forms the customary jodan and gedan. The sometime charming fusuma of the latter are decorated with clouds of double cherry blossoms (yaye-zahura) which an unskilled artist has attempted to preserve by painting new petals over the old ones. The panels adorned with pheasants, parrots, and other birds are effective, but the landscapes in the upper ones are better. The finely coffered ceiling of the jodan displays phoenixes with outspread wings whose points touch and produce a sumptuous effect evidently inspired by the ceilings of the Ming Palaces at Pekin. The doves which sit contentedly on the lichen-splashed trunk of the great pine tree in the alcove of the toko, show Naonobu in one of his best moods. The metal-work on the panels opening into the mi chodai ranks among the best in the Palace. It is indubitably the oldest, for the knobs covering the bolt heads are embellished with what is reputed to be the first cloisonne made in Japan. Some of the fitments are so deeply incised (with Tokugawa crests and what-not), and are marked by such grace and refinement that they resemble delicate jewelers’ work. The crimson silk cords and tassels are unquestionably ancient, but the pheasants and double cherry blossoms on the panels look a bit too fresh to have been painted 300 yrs. ago. There are two chigai-dana here, both charming specimens of Japanese craftsmanship and both embellished with dainty metal fastenings; those at the right are cunningly chiseled and differ from the old blue cloisqnnd ones at the left, which carry small medallions with the shogunal crest. The landscapes on* the upper left panels are worth noting. —

On the way to the next suite we pass a pair of cedar doors handsomely adorned with luxuriant white hydrangeas; and still others with camellias and peonies, all by Naonobu. The long narrow passageway leads to

The Shiro-shoin; the gedan, chudany and jodan of which are decorated in a manner quite different from the preceding rooms; here the fusuma are badly oxydized and subdued to a patina of wan gold embellished with landscapes and Chinese scenes in sepia; spiritless things by Kano Koi. The painted ceiling is old but is still rich-looking. One notes here that the Tokugawa crest of the metal-work has been replaced by that of the 16-petaled chrysanthemum, in token of the Imperial occupation of the rooms after the fall of the shogunate. The mi chodai is small and dark. Behind the chudan (or 3d room of the suite) is a small waiting-room celebrated for another one of those alleged masterpieces about which art critics rave, but which remain a puzzle to the average traveler; the panels are covered with snow scenes effective enough in themselves, while on a snow-laden branch of a tree two faded little tree-sparrows (called Nemuri suzume) sit fast asleep. The sentiment is tender, and the picture is — by Kano Naonobu. The lover of bird life will find more to look at in the heron panel, hard by, — particularly in the skillful way in which one of the three birds is half hidden by the grass.

As a termination of the inspection of the Palace the traveler is now conducted back to the entrance, along an interior corridor flanking the rear df the rooms already described; some of the cedar doors are elaborately ornamented with paintings of geese, ducks, and other birds. The Chrysanthemum Room (kiku-no-ma) has a number of panels embellished with this Imperial flower; and a rich coffered ceiling. The Palm Room is recrossed to reach the Eagle Room (washi-no-ma), which has some regal pictures of eagles and pine trees — excellent work by Kano Tanyu. The ceiling should be noticed, as it is a beautiful combination of nature and art, and is one of the loveliest things in the Palace. Each of the 78 sunken panels carries a gold peacock on a copper-green ground; each bird forms an exquisite picture by itself; and each, painted in an attitude slightly different from the others, is an integral part in an ensemble of extraordinary richness. The Roju-no-ma, or room for Ministers of State (Goroju)y has some superb wildgeese panels by Naonobu, and opposite them some cedar doors painted almost as skillfully. The motives extend to the adjoining Gan-no-ma (Goose Room), where the panels are all covered with gold foil and figures of wild geese flying, feeding, or in watchful attitudes. The White Heron Room (Sagi-noma) is resplendent with gold panels showing white herons and trees. — A corridor leads behind the Bamboo and Tiger Rooms to the Choktjshj-no-ma - Imperial Messengers'

Room, a vast chamber repaired in 1912. The big gold panels depict a forest of hinoki and other trees, whose great branches spread almost round the room. On the wall of the recess is a splendid maple tree whose green leaves are just turning to crimson — with a beguiling effect. The maple design is repeated on the sliding panels of the mi chodai, the woodwork of which is oiled keyaki instead of lacquer, enriched by some very attractive metal-work. The finely polished wood base of the. alcove consists of a solid piece of faultless keyaki. — The traveler leaves the Palace in closure by the gate through which he entered.

The *Higashi Hongwanji (Pl. C, 5), or Eastern Temple of the Hongwanji or Otani branch of the Monto sect of Buddhists (p. cxcix), a splendid new structure 230 ft. long, 195 deep, and 126 high, dates from 1895, cost (perhaps) 7 million yen, and is one of the largest temple buildings in Japan. Ninety-six huge, time-defying keyaki pillars support the great upsweeping tiled roof, which is a conspicuous object in the S. quarter of the city, where it stands within 5 min. walk (E.) of the Nishi Hongwanji, of which it is a sturdy offshoot.

When the forceful and vindictive Oda Nobunaga was busily engaged in routing the militant, pederastic priests out of their fortified nests in and about Kyoto, Kennyo Kosa, the then (11th) head of the Hongwanji Temple, together with his son Koju, incurred his displeasure and they were obliged to flee and defend themselves in a strongly fortified monastery at Osaka; where they successfully withstood a 5 years’ siege directed against them by Sakuma Nobumori, at that time — 1580 — in the great Shogun's service. Because of his failure to extirpate Kosa, Nobumori was disgraced and exiled to Koya-san, where he died. Toyotomi Hideyoshi (who succeeded Nobunaga) was so vexed at Kosa's vainglorious obstinacy that he selected another of his sons, Kocho, as the ruling head of the sect, but when the invincible Ieyasu (who succeeded Hideyoshi) came into unexampled power as the first Tokugawa shogun, he recalled Koju and erected for him. (in 1602) another temple a short distance E. of the main one, and called it the Higashi, or East Hongwanji. The division of the great and powerful sect dates from that period; the East became the new branch, and the West the old trunk. The former was burned four times between 1602 and 1874. The present structure was begun in 1879 and was completed and dedicated in 1895. When the call went out for contributions the devotees responded with true Japanese enthusiasm. Those who had no money to give gave stone and lumber (to the value of over a million yen), or their time; and the humblest peasant made some personal sacrifice to aid the great cause. The ever devoted and self-sacrificing women sheared oft their raven tresses and from them were made 29 immense hawsers (called kezuna, or * human-hair ropes') with which the ponderous pillars and beams were hoisted into place! The longest of these unique cables is said to have measured 200 ft., and to have been 16 in. in circumference. Smaller ones (90 ft. long and 9 in. in circumf.) are preserved and shown as faded but significant symbols of how deeply rooted in the Japanese heart are the gentle teachings of SuUlartha. — The temple contains but few genuinely old art treasures, as its former rich possessions have been destroyed in the fires which seemingly have scourged it with sinister persistence. Its chief interest lies in its splendid and satisfying proportions. The main temple, Daishi-do, or Founder’s Hall, is somewhat unusual in that it has a double roof — which ia said to cover 45,000 oq. ft. The vast auditory contains 550 soft rush mats each 3 by 6 ft., and the great chancel extends along its entire length. A noteworthy and pleasing feature is the comparative absence of the indeco-

rous tinsel which violates the sobriety of so many of the Japanese temples. Unlike that of the Nishi Hongwanji, the Amida-do (about 1/2 the size of the Hondo) here stands at the left of the main temple and is linked thereto by a covered corridor. Both structures follow the accepted model of the fanes of the extensive Hongwanji sect, and are extremely good architectural expressions of modern Buddhism, as well as of the conspicuous skill of the native craftsmen. Some of the modern wood sculptures are almost the equals of the best achievements of Jingoro and other early masters.

Travelers bearing special permits should present these at the office abutting on the abbot’s apartments at the right, where a special guide will be assigned them and permits issued for an inspection of the villa and garden — both outside the temple compound and customarily not shown. The bonze conducts the visitor first through the abbot’s suite, — chastely beautiful rooms adorned with modern pictures and statues, — thence to the special reception room set apart for the Emperor or other Imperial visitors. It faces the Chokushimon, referred to hereinafter, and is decorated in exquisite taste; purely Japanese, extraordinarily rich but refined, and characterized by a notable propriety. The splendid fusuma are hand-painted, embellished with Imperial crimson silk tassels, and further enriched with hammered metal-work almost covered with heavy gold foil. The wood employed in its construction is the quasi-religious Chamaecyparis obtusa, of which all Shinto shrines are built. At one side of the suite is a delicately beautiful and charming landscape garden in the formal Japanese style, redolent of flowers and filled with maples which seem to glow more deeply than usual at being the objects of Imperial criticism.

Ordinarily visitors cross the stone bridge spanning the little moat and penetrate the vast atrium (inclosed by a high wall) through the central or Great Gate, a noble, two-storied structure finished in the natural (keyaki) wood and enriched by a wealth of carvings and metal-work covered with mediaeval tracery. Twelve immense and beautifully grained keyaki pillars set in splendidly embossed copper-bronze sockets resting on granite bases, and each 2 ft. or more in diameter, — • mighty beams that suggest herculean strength and solidity, — * support the bulky superstructure, which is a maze of carved and pierced panels and white-eyed, glowering dragons in high relief. The sturdy tie-beams are covered with arabesques and conventional designs, carved with a delicacy unlooked for in so gross a medium, while the brass enrichments of the panels resemble lace or similar work. Sculptured groups of Chinese sages sit in airy security along the beams; only the newness of which, and the fresh tinge of the un weathered wood, enabling the casual eye to distinguish the carvings from some ot the best work of the old schooj. Huge brass lanterns swing before the passageway, which is defended by three pairs of* great doors, each strikingly embellished with black metal fitments. The grandiose proportions of the structure are enhanced by the two subsidiary buildings at the right and left, where the stairs conducting to the upper story (with an altar and a statue of Amida-butsu and his disciples) begin. The inner side of the gate is a replica of the outer, excepting that the involved dragon which glares down from its wire cage has gilded antenna;, and blue eyes whose expression softens his minatory mien. All the compound brackets are picked out in white; the great square beams which bar the gates

are those of a giant's keep. The brilliant but restless little gate (a gift to the temple from two Nagoya millionaires), a few hundred ft. at the right, is the Chohuskimon (called also Kiku-no-mon, from the 16-petal chrysanthemums on the lower panels), and is, as its name implies, reserved for Imperial use. The heavily shingled (hirwki bark) roof, in the pure Shinto style, is its handsomest feature. This is repeated in the surpassingly rich and attractive gate at the left, facing the Amida-do, and called Amida-do-mon, or Gate to the Hall of Buddha. It is almost covered with brass enrichments, conspicuous among which (on the panels) is the Imperial kiku crest of the Emperor, and the PauLownia imperialis of his consort. The fine peahen over the middle beam, the lotus flowers, and the Buddhist angels are all excellently carved.

The colossal proportions of the temple are seen to good advantage from the main gateway, a curiously mediaeval effect being imparted by the bizarre turtles with dragon heads which serve as antefixes at the ends of the porch roof. The several big bronze lanterns, and the handsome water-basin of lotus-leaf design in the yard, are worth looking at; likewise the immense sculptured Korean lion, high up under the ridgepole of the temple, covered with a metal network to protect it from the pigeons. The belfry looks too diminutive to be an adjunct of the big fane. Sculptured groups of fat and jolly Chinese sages sit astride the cross-beams of the wide porch with its polished black-lacquer floor, the beam terminals being formed of expertly carved elephant heads distinctively East Indian in their suggestiveness. The immense central beam, a marvel of length and girth, indicates the size attained by the great keyaki trees of Japanese forests. The mighty beams of the exterior carry other groups of excellent sculptures — • tigers, unicorns, Dogs of Fo, dragons, cranes, and what-not — • which extend quite around the structure. Bronze wind-bells that tinkle in the slightest breeze pend from the eaves, and a pale light sifts into the interior through the paper shoji serving as the movable outer wall.

The Interior (42 ft. wide by 66 deep), is divided into a wide central nave flanked by four lateral ones 27 by 66 ft. Sixteen immense keyaki pillars and numerous pilasters of the same wood support the great roof with its coffered ceiling. More than a thousand worshipers a day are said to pass through this vast interior, the most noteworthy features of which are the finely chiseled and gilded panels of the architrave, each displaying mythological howo and angels of the Buddhist heaven. The reliquary is a shimmering marvel of gold- and black-lacquer, enshrining a carved wood figure of Kenshin-Daishi said to have been made by his own hand.

The great supporting pillars are heavily coated with black-

lacquer and superimposed gilded metal enrichments; the lotus wall-panels in gold are by modern artists, as are also the groups of well-carved flowers, waves, and other designs above them. The gilded ramma above the altar — 4 carrying phoenixes and 7 sculptured angels in high relief — are extraordinary rich specimens of the sculptor's art.

The Amida-do is less brilliant than the Hondo, but the carved panels of phoenixes are worth seeing. A pile of the hair-ropes, referred to above, may be seen in the connecting corridor. The figure on the altar is Amida-butsu. — Leaving the Amidado one is conducted (5 min. walk) to the Kikokutei (abbot's villa), a handsome formal Japanese garden E. of the temple, where the abbot takes his recreation. Among the minor attractions is a Moon Lake, some picturesque arched bridges, and a meandering brook, some summer houses with charno-yu apartments, a miniature tea plantation and many plum, cherry, pine, and maple trees. Overlooking the pond where tame fish come up to be fed, one is regaled with tea in a room which the Emperor has graced with his presence*

The * Nishi (West) Hongwanji (comp. p. cxcix), a widely celebrated Buddhist temple (one of the finest in Kyoto) in the S.W. quarter (Pl. C, 5), 10 min. walk from the Kyoto Station and 40 minutes (much quicker by automobile) from the Miyako Hotel, is within 2 min. walk of 1 he tramway and 5 min. W. of its rich and powerful offshoot, the Higashi Hongwanji described above. It is often referred to by art critics as the most perfect existing example of Buddhist art in Japan, and the traveler with but little time at his disposal will do well to forego some of the minor temples and to devote more time to this one. It is a superb reliquary of Japanese applied art, and in the way of varied adornment occupies the first rank among the temples of the Empire.

While the main temple is open free (fees unnecessary) to visitors at all times, the Apartments of the Abbot (who is of high lineage), wherein are grouped the art treasures for which the institution is renowned, and which most travelers to Kyoto will wish to see, are shown by the courtesy of the priests — certain of whom speak a little English. If ecclesiastical ceremonies are in progress, or prominent visitors are being entertained in the apartments, casual visitors may have to wait their turn or postpone visits. Later appointments can be made by telephone. The association is powerful and respected, and the priests resent being commanded to conduct travelers through the buildings at unpropitious times. The temple-office (and official entrance to the apartments) is at the extreme S.W. corner of the wide inclosure and is reached through a narrow walled-in lane leading from the S.E. corner. No entrance fee is exacted, but a small gratuity (50 sen or ¥1 for a person or a party is ample) will not be refused by the attendant who conducts one about. Financial difficulties which arose in 1913 forced the governors of the vast organization to auction off heirlooms and other treasures to the value of several hundred thousand yen. But as these were chiefly autographs of notables, articles of personal use of shoguns and emperors, and a few rare screens and kakemonos by old-school artists about whom the average traveler is not always concerned, the touristic value of the establishment may be said to continue unimpaired. Most travelers elect to see the admirable apartments first, then inspect the main temple

if time allows. Several of the greatest artists of the famous Kano school (p. ccxxvii) took part in the decoration, of both groups, and perhaps nowhere can the peculiar style and the artistic impress of these early masters be studied to greater advantage. While at the superb Nikko and Shiba Mausolea the finest achievements are expressed in glyptic ornamentation and in gold-lacquer and gold foil laid on pillars and walls, here the painter’s art has been given greater prominence. The decorative splendor of the rooms culminates on sliding panels and screens enhanced by magnificent gold backgrounds so wonderfully subordinated to the scenes traced upon their surfaces that the glittering gold always seems to remain light and discreet — a prodigy which a celebrated art critic (M. Gaston Migeon, Conservator of the Louvre Museum) believes ‘no other people could have accomplished in compositions of such size.' The singular charm of some of this finest work is subtly recessive and thus characteristically Japanese, and to the casual eye it is not always apparent at the first glance; but a careful and detailed study of the motives brings out their suggestive. Oriental charm and reveals beauty, grace, and poetic conception. The pierced ramma of the apartments are among the finest in Japan. Scarcely less interesting, in a way, are the massive sliding doors of cedar wood, usually made of one piece, richly painted, and embellished with metal adornments. They are supposed to have come from Hideyoshi's famous Peace Palace, and the best workmen of that remote era devoted their talent to the fashioning of them. The fane expresses the highest taste in Buddhist temple construction.

Approaching the temple office from the S. one passes, at the left, the Seminary (a rambling white building back in a yard) for young priests, and enters the sacred inclosure through the plain Daidokoro-mon, or Kitchen Gate, so called from the proximity of the temple kitchen. The closed gate at the right is the Chokushi-mon, used formerly by Imperial personages or their couriers. The Japanese like to call this tottering relic the Hi-gurashi-no-mon, or ‘ Sunrise till Dark Gate’ because they think an entire day may be spent profitably in the study of its amazing detail. The sometime superb wood-carvings of Chinese on prancing horses, of dragons, mythological animals, flowers, and foliage, are (perhaps unwarrantedly) attributed to Hidari Jingoro. — The sacerdotal apartments are divided into small groups opening into one another or connected by polished ‘nightingale’ floors (p. clxxx) which emit plaintive squeaks at every footfall. Nearly all the rooms bear the names of the principal decorative motive employed in them. The best are not, as one might think, inhabited by the priests or the abbot, but are sumptuously adorned reception rooms convertible into sleeping-chambers, which were used by the sovereign, the shogun, or other notables.

The visitor is conducted first to the Sparrow Room, which

(beside the temple register) contains some old-gold screens and wall-panels decorated with sparrows, chrysanthemums, and bamboos by Maruyama Ozui (18th cent.). The numerous sunken panels of the coffered ceiling marked by metal enrichments at the joints and corners carry each a gilded disk on which various flowers are painted in a pleasing manner. The wrell-preserved old sliding cedar doors of ample dimensions in the near-by corridor are painted by Yoshimura Kdand on one side show eagles and on the other a cascade.

Those at the end of the hallway, displaying a monkey on the face and a flower-cart and basket of flowers on the reverse, are about 260 yrs. old and were decorated by Kano Ryokei. The first room at the right, the Wild Goose Chamber, has fine but somewhat dimmed gold screens with brilliantly painted and skillfully grouped wild geese in various attitudes — flying, feeding, nesting, watching, etc.; above (at the left) is a superb pierced and sculptured ventilating panel (a masterpiece by Ryokei, who also painted the dainty clematis on the handsome coffered ceiling) showing the same splendid birds flying through gold-tipped, drifting clouds. The rising moon in the adjoining chamber is so placed that, by viewing the ramma from a certain angle, an effect of geese winging their swift flight across the face of this distant orb is produced — a favorite theme with native artists. The vista is one of singular charm and should not be missed.

The Chrysanthemum Room has screens adorned with the imperial kiku and other Japanese flowers (painted by Kaihoku Yusetsu about 1690), and a group of fans on each sunken panel of the ceiling. The cedar doors at the end of the short passageway are embellished with civet-cats and sago palms on one side, and horses and pine trees by Kano Hidenobu (17th cent.) on the reverse.. In the anteroom of the following suite the Upper panels are painted (by Kano Koi, and Yusetsu) with somewhat exaggerated Chinese fans. On the face of the cedar doors are full-blown peonies under which a cat sits dozing; and on the reverse, some willow trees and snowy herons by Kano Ryotaku (17th cent.).

The Peacock Room, one of the most attractive of the

group, is noteworthy for its panels adorned with superb peafowls in all the glory of outspread tails painted with extraordinary realism and harmony; the white peahen standing beneath the grand old double-blossom cherry tree is the acme of grace and beauty. The two pierced and gilded ramma in colors, with foliated peonies and mythological phoenixes, are by Kano Koi. The handsome coffered ceiling is decorated in conventional designs. The upper panels (by Yusetsu) of the adjacent corridor, representing an autumnal field covered with tall grass in Musashi Province, remind the Japanese that in that locality the moon always sets behind a gray moor. — There are many figures, a cart, some mt. goats, ducks, and what-not represented on the screens of the 2d room of the peacock suite, conspicuous among them a Chinese Court scene, with many notables in the foreground. A superb screen shows three graceful white cranes standing on a rock rising out of the water, and two wild ducks flying down to them. The carved wistaria on the openwork ramma connecting the room with the adjoining one is finely and delicately chiseled, and can be seen to better advantage from the other side. The 3d

room, a large and resplendent one, has some good screens portraying assemblies at the Mongol Court, with brilliant processions of courtiers, court dames, and the like, extending in progressive continuity quite round it. At the extreme left, in the recess, is a series of -4 small sliding panels, richly adorned with purple silk tassels and chased metal fastenings with lions, peonies, and similar designs intricately interwoven on their surfaces. The larger upper panel carries a dainty landscape design by Kano Koi; the others show the gate to, and the interior of, a palace of an early Chinese emperor. The suite is often called the Skiro-join and many royal personages have been lodged here; at present it is used by the abbot in which to receive persons of distinction. The stones of the small court here are seen to be arranged with a curious regularity; the stage facing the corridor is used for No dances. Proceeding along the corridor, we come to a pair of cedar doors with a dog and a chair on one side and drums (by Kand Ryotaku) on the other, then enter a small room called

The Court Dressing-Room (shozoku-no-ma); all the spirited panels were painted by Yusctsu and depict ancient hunting scenes, on a gold background. The cedar doors are also by him; the basket is of the special type used for carrying burdens on the shoulders; the painting on the reverse describes the historic struggle between Taira Atsumori and Kumagaya Naozane (p. 441.). A pretty little garden with a Sotetsu palm in the center is visible from the left of the corridor. It is ascribed to Asagiri Shimanosuke and is said to be a copy of a famous Chinese garden in the Middle Kingdom. Provisional stages were anciently erected here, and the classic No dance rehearsed in view of visiting notables. The books and scrolls on the ceiling and the wistaria on the corridor panels are by Yusetsu. The sliding doors at the end, with maple trees, deer, and dragons, are attributed to Yoshimura RanshU (18th cent.).

The Stork Chamber (ko-no-ma), the finest and largest of the apartments, and where the decorative splendor culminates, is of noble proportions and exceptional merit. Double lines of severely plain keyaki columns divide it into three wide aisles, at the top of the central one of which is a dais, on which Toyotomi Hideyoshi used to sit and hold his famous councils (from which circumstance the room is often called the Council Room) guarded by silent samurai crouching in the stuffy closet with handsome metal-clasped doors, at the left. The five sculptured polychrome ramma of cranes and reeds, above the dais, rank among the finest of Hidari Jingoro's masterful productions. The painting (about 10 by 20 ft.) on the back wall of the recess or tokonoma, one of Kano Tanyu's most grandiose works (executed about 1650) and indubitably one of the best things in Kyoto, shows the Chinese Minister of State, Choryu

presenting the four sages to Keilei, an emperor of the Han Dynasty. The terrace overlooks a stately park, through the groves of which picturesque mediaeval figures, in quaint costumes and full of subdued action and Oriental splendor, pass to and fro. In few of his pictures has Tanyu shown his admirable talent to finer effect; the colors harmonize excellently well with the tonic value of the background; the composition and arrangement are characteristically Japanese, and the whole is ‘developed with a breadth and facility which recall Veronese.’ Other scenes of similar import, also by Tanyu, enrich this remarkable room, the fine coffered ceiling of which (by Ryokei) has 161 sunken panels, each adorned with a painted phoenix differing slightly from its neighbor. The cranes and pine and plum trees on the sliding panels of the two sides of the room are also Ryokei's work, excepting the six new ones which replaced the old faded ones in the left corner. Facing the entrance is another dancing-stage so arranged that on the occasion of some unusually splendid gathering the shoji could be pushed aside and the performance could be witnessed by the company in the hall.

Visitors are customarily turned back here, as the succeeding apartments are of little interest. The most prominent among them is the Taiko Kubi-jikken-no-ma, or room where Hide yoshi received the faithful servitors who brought in the heads of slain enemies for verification; the wave patterns on the eliding panels, and the war-drums on the ceiling are by Kano Eitoku. The Tiger Room has some badly faded old wood panels (by Eitoku) adorned with tigers that stalk stealthily through bamboo jungles. The pierced ramma in the Wave Room (nami-no-ma) showing grapes and squirrels, have been too hastily attributed to Hidari Jingoro. Note that the outlines of the waves on the 72 sunken panels of the ceiling all differ. There are two other tiger rooms and a number of smaller ones of no interest. — Unless the visitor asks the bonze to accompany him on through the main temple, he will probably be reconducted hence to the entrance of the apartments and expected to enter the temple compound through the E. gate.

Whosoever approaches the structure from this direction finds himself facing a high wall marked by the conventional five thin white lines as tokens of royal favor, and pierced by two sumptuous gates, each connected with the main thoroughfare by low stone bridges. The latter span a narrow and uncommonly foul stream of water which is supposed to represent a moat, and, by imparting to the bridges the appearance of drawbridges, to give the temple the aspect of a fortress. The upper or N. gate, in line with the porch of the Amida-do% is usually closed to all but titled visitors; its beautifully shingled roof of hinoki bark laid on a foot or more thick in the

strict Shinto style, and its mass of glittering metal enrichments arranged after the most approved Buddhist architectural taste (symbolic of the sometime felicitous union of the two creeds), coupled with the pierced and sculptured chrysanthemum panels and doors, make it an extraordinarily rich-looking and striking object in the landscape.

The Main Gate (left), which is considerably smaller and less ornate than that of the Higashi Hongwanji, and which is not in keeping, architecturally, with the grandiose temple to which it gives ingress, is embellished by a few small groups of carved and foliated chrysanthemums covered with a wire network, to protect them from the many pigeons which make their home within. From its ample portal the temple roof only is visible, as the compound is defended by a short inner wall built after the Chinese idea (as a protection against demoniac spirits, which are believed to be unable to travel in aught but straight lines). The chief objects of interest in the wide gravelled inclosure are two strikingly graceful square bronze lanterns, placed at the right and left of the temple steps. Two others, of less pleasing design, face the Amida-do (right), while at the far left, in a granite depression, is a beautiful green-bronze lotus-leaf fountain over whose dimpled edges well several streams of crystal water. Note the facial contortions of the squatting demonlets which support the corners of the water-basins at the foot of the steps. — A conspicuous object in the compound is a wide-spreading Icho tree, which the credulous believe protects the temple by discharging showers of water when a fire threatens it.

The Icho Tree (Salisburia adiantifolia; Jap: Gingko or Gingko biloba), a unique coniferous tree of the Ginkgoacece, known also as the 'Maidenhair Tree’ of Japan, called Salisburia after R. A. Salisbury, an English botanist of the 18th cent., resembles somewhat a linden, and is cultivated in Japan chiefly for ornamental purposes. It is the only living genus of otherwise extinct genera which flourished in Paleozoic times, and is perhaps an importation from China, where it is grown for its edible fruit (Jap., ginnan; Chinese, Pa-Kwa) — which in size, shape, and color resembles large mirabelles, with thin, disagreeable flesh, and seed-kernels with a taste like that of peach-seed kernels. The tree (known in China as the yin-hsing, or ‘silver apricot’) grows rapidly to a great size and height; the wood is somewhat similar to that of the maple, of a bright yellowish color, fine-grained, easily polished, and as easily broken. It sheds its yellow leaves in the autumn along with the crimson ones of the maples, and is most often found in temple yards and burying-grounds. The Japanese idea of its fire-quenching qualities is perhaps an adaptation of the phenomena of guttation peculiar to the Tamia casjri, or ‘rain tree’ of the eastern Peruvian Andes. The adherents of the Nishi Hongwanji believe in its efficacy and they point with triumph to the fact that its rival temple, the Higashi Hongwanji, has been burned to the ground four times since it was established.

The plain but chaste and classic exterior of the fane — which is constructed of rare and carefully selected woods from the sacred forests of Koya-san — is redeemed by the rich and glowing interior, particularly that part where the reliquary stands and where most of the ornamentation is centered.

The vast and impressive nave (gejin) of the hondo, with its four lateral aisles, is 138 ft. long by 93 deep, and 477 mats each 3 by 6 ft. are required to cover it. The contrast is striking between the glitter of the sanctuary with its wonderful equipment and the auditory with its plain keyaki finish. Many handsome brass lanterns hang from the ceiling or its supporting pillars, and an almost constant stream of worshipers pass in and out beneath them. With the exception of the brass-studded ones at each end of the porch, the doors are nondescript in character. Seated along the cross-beams above the plain wooden chancel-rail — which can be moved inward or outward as occasion requires — are various groups of polychrome Chinese figures serving both as ornaments and as constructional expedients. Behind this rail the entire rear of the vast room is a maze of dazzling gold foil and beautiful varicolored decorations, manifold in design but chiefly of religious import. The huge pillars and pilasters are heavily armored with dazzling burnished gold and when the morning sunbeams draw sheets of yellow flame from their resplendent surfaces the effect is one of ravishing opulence. In the absence of capitals, the columns merge at the top into a flowing maze of richly painted flowers, arabesques, diapering, and geometrical designs, so complicated and involved that the eye wearies in tracing them out; the colors are harmonious and amazingly effective, and the whole resembles rich brocade silk. The series of lower pierced and sculptured ramma carry great gilded peonies, foliated and in high relief — a bit too large to be artisti- * cally satisfying, but withal very showy in their regal environment. Higher up is a second series of black- and gold-lacquered panels, and still above them a maze of elaborately decorated compound brackets whose companion groups in the nave proper are of plain keyaki, made prominent by having their terminals picked out in white. At the extreme left of the nave are some superb gold panels painted with mythological howo and flowers — designs that are repeated with even greater beauty and brilliancy at the extreme right. Behind the latter panels are spacious rooms with gilded pillars and wall-screens embellished with lotus flowers and leaves. Below them are goldencased sliding screens displaying snow-laden pine trees, while the complemental ones at the left carry bamboos and cherry trees also bending beneath snowy burdens.

Almost every detail of the wonderful gold-lacquered central shrine bears the impress of a perfect art.. The gold-lacquered table upon which it rests, of a deep, beautiful black and a rich Indian red, is finished with an exquisite fidelity to refinement, a quality also observable in the superb lacquered altar-table which stands in front of the shrine and holds up to it, as it were, candles, vases of flowers, incense-burners, and the usual Buddhist accessories. The lacquered sutra-boxes which sit

on the highly polished black-lacquered floor are as dainty a a Indian jewel-boxes. Behind the shrine, which contains a much revered wood image of Shinran Shonin, carved by his own hands, and at the right and left of it, are minor altars where pictures of Shonin and other exalted personages are worshiped. In one of them is a kakemono of Amida the all-merciful, effectively painted on a dark-blue background and radiating beams of golden light. The two Chinese ideographs in the massive gold frame adorned with a 16-petal chrysanthemum crest spell the name Kenshin-Daishi.

The Amida-do, or Hall sacred to Amida Buddha, stands at the right (N.) of the hondo and is connected therewith by a covered passageway; its single nave (87 by 96 ft.) is even richer and more glowing than that of the hondo, with decorations of a similar order, but with more gold and more grace. Instead of the black-lacquered panels above those displaying carved gilded lotuses, here we have polychrome groups of angels of the Buddhist heaven exquisitely sculptured in high relief and very felicitously subordinated to their true architectural positions above the richly decorated tie-beams; the pierced rammaare of carved and gilded tree peonies. The reliquary is a marvel of intricate beauty, with a statuette of Amida, dusky with age, standing with his back against a rich gold screen. The black-lacquered borders bring the gold panels and doors into striking relief. The large and beautiful rooms at the right and left of the altar contain various kakemono of Honen Shonin and other Buddhist priests of note. The splendid gold sliding screens showing phoenixes and peacocks on a blossoming peach tree are attributed to some artist of the Kano school and should not be overlooked. The grotesque figurines of Chinese sages sitting astride dragons, cranes, bizarre horses, and in other ludicrous attitudes high amid the upper cross-beams, are lurid, and fortunately are often unnoted.

The large bare adjoining room is one of the (uninteresting) apartments of the bonzes. — Before leaving the temple inclosure, one should cast a glance at the large carved phoenix in the attitude of flying out of its nest in the great angle formed by the ridge-pole and the two sides of the roof of the Amidado — a bold and crisp design, repeated at the other end of the structure. The companion groups on the hondo display Dogs of Fo, demons and flowers, all expertly carved. There are also some passable sculptured dragons under the wide eaves of the porch of Amida’s shrine, and elephant heads at the ends. The squat, two-storied structure at the N. limit of the compound contains some chiseled wood figures scarcely worth seeing. The tall, awkward drum-tower, between the corner of the fence and the moat, houses a deep-toned drum which is struck in hourlvunisoq with the temple gong.

The Garden (not usually shown) contains a private teahouse for the entertainment of distinguished guests; a spring of pure water with a stone tablet setting forth its exceptional virtues, a pond, a number of tombs of long-dead Buddhist

Criests, and a three-storied structure decorated (1st floor) y Kano Eiloku (willow trees), Kano Tanyu (8 views of Chinese scenery), and Kano Sanraku (2d story, portraits of the 36 celebrated poets).. On the 3d floor are pine trees ascribed to Hideyoshi. The view from this elevation embraces a wide area. — The scores of small shops which flank the approaches to the temple deal almost exclusively in rosaries, reliquaries, gilded saints of the Buddhist pantheon, squares of tapestry for antependiums, and temple furniture in general.

The Toji, a dilapidated but much venerated old Buddhist temple in the S. confines of the city (Pl. B, 6) beyond the rly. station (20 min. walk from the Nishi Hongwanji), in a somewhat frowsy neighborhood, was founded as a monastery in the 9th cent, by Kobo-Daishi, and consequently is one of the oldest in Kyoto. An ancient and respectable tradition handed down from the ages relates that Mr. Daishi lived here when he returned from his pursuit of knowledge in China, and that he held the abbotship before departing to found the widely famous monastery of Koya-san (Rte. 28), in the wild and picturesque mt. tract between Kishu and Yamato. The existing shrimppink structures, which are persistently and sadly neglected and which contain a trashy lot of junk of but little interest to travelers, date from the 17th cent, and are the headquarters of the Shingon sect, whose seminary stands just outside the S. gate of the Nishi Hongwanji. Time was when the institution possessed some rare treasures brought from China by its founder, but most of these are now scattered. The old edifice near the S. gate is a curious 17th-cent. relic, with a porch formed by an uplifted section of the roof and resembling an overhanging lip. A few big sculptured figures stand about in the silent, dusty halls, as mediocre as the minor objects stored in the godowns. The massive and still sturdy pagoda at the S.E. corner of the compound, though ascribed to the 8th cent., dates perhaps from the 17th cent. It long possessed a certain local fame as a sort of leaning tower, from its propensity to stand out of the perpendicular. This habit vexed the priests, who prayed earnestly that it might be restored to its vertical position. At that epoch a wide pond stood near by at the N., and a hard-headed landscape artist conceived the idea that this might have something to do with the inequality of the pagoda's foundation. A corresponding pond (the present lotus-pond) was dug on the N. side and the pagoda was invited over. In due course it straightened up, and the practical artist is now worshiped as a miracle-worker. The five great stories are upheld by immense compound brackets on a wide

granite plinth. Note the bizarre demonlets astride the beams under the eaves of the lower story, and the good-looking gilt statues on the altar within.

The Katsura Summer Palace (Katsura-no-rikyu), sometime the home of the powerful Katsura family, but now an Imperial country-seat, stands (E. Pl. B, 3) about 3 M. to the W. of the Kyoto Rly. Station, on the W. bank of the swift but shallow Katsura River, The dwelling itself is of scant interest, but the artificial garden ranks as one of the most classical in the Empire.

Starting from the rly. stationt pedestrians may reach the wide and winding road leading westward from the outskirts by proceeding 1 sq. W., then two to the right. A basket leaves from a point near by about every hour (fare, 10 sen; time, 4 hr.) and will deposit one at the far end of the long Kcttsura-gawa Bridge, at the S. side of the Palace inclosure, 2 min. walk from the entrance. Jinriki from the (5 M.) Miyako Hotel, ¥2.40 (for the round trip with two men). Discomfort inevitably attends the excursion; the road is the natural S.W. outlet of the old capital, and throughout the entire day there go and come never-ending processions of long, slender, man-propelled carts laden with rows of big wooden buckets filled to the brim with splashing night-soil, the overpowering stench from which hangs in a pestiferous cloud over the countryside. There are scores of them and they cannot be avoided, as the river is unbridged at other points. Unless fancy or a sense of duty prevails, the visitor can spend the time to practically as good advantage by visiting the Shugaku-in mentioned hereinafter. From the end of the bridge a road turns up sharply at the right, flanked on one side by the river and on the other by a dense and carefully fenced bamboo grove that forms a part of the Imperial estate. The massive ungarnished black gate is a short distance beyond, and the custodian’s house is just within. The special permit (not valid after 4 p.m.) which the visitor must possess (see p. 400) is shown here, and the name inscribed in the Palace Register. A guide then conducts one to

The Apartments contained in a low, rambling structure standing well off the ground, showing the marks of primitiveness and age, and resembling more a private dwelling than an imperial palace. The sliding screens which serve as interior partitions are in some cases new and plain; certain of the older ones carry stiff and conventional decorations in sepia by Kano Tanyu, to whom are also ascribed some of the grotesque old cedar doors of the passageways, adorned with rabbits and other animals. Among these doors is one with a gold-andblack drum surmounted by cockerel attributed to Kand< Eitoku — perhaps a relic of Hideyoshi’s Peace Palace near Fushimi.

The Yuki-no-ma (Snow Room) takes its name from the faded old panels (painted in a feeble way and without novelty by Kano Yasunobu) showing snow-laden trees, pheasants, and geese. The panels exhibiting old Chinese scenes, by Kand NorinobUj are poor specimens of a clumsy form of pictorial art preserved for their historic associations rather than for their decorative effect. The most prized possessions are some small sliding panels in one of the chigai-dana, with tiny birds painted by Kano Tanyu in the style naively described by

fulsome writers as ‘gems’ and ‘masterpieces,’ but which critical travelers find difficulty in appreciating. The carefully wrought metal hikite, or sunken catches of certain of the fusuma, including those nailed to the upright beams, are worth looking at, as they take the somewhat unusual form of bamboo baskets filled with daffodils, etc. The trimmings of some of the shelves are made of ancient bits of cloisonne. The Mikado’s sleepingroom — a darksome apartment — is laid with soft mats edged with green silk. More attractive than the interior is the Tsuki-mi-dai, or ‘moon-gazing platform’ on the E. side, overlooking the charming garden — a delightful antidote to the so-called palace. Kobori Enshu (1579-1647), indubitably the greatest of all the old Japanese landscape gardeners, designed this masterful plot for the diversion of his Imperial master, and in concordance with a well-known Chinese poem, wherein the platform above mentioned represents a boat floating capriciously across a serpentine lake on a moonlit night. The serenity and contentment suggested by such a scene form the theme of the artist’s efforts, and the many sequestered nooks, the whimpering streamlets which tinkle through the fragrant undergrowth and then slip eagerly but noiselessly into the lily- and lotus-flecked pond, the miniature mountains and dingles, and the seductive vistas which please the eye at many points, are all in harmonious accord with his poetical inspiration. The long, flat stone bridges, and the arched wood ones, which span the bights of the tiny bays or the inflowing brooks, are all deftly and artistically placed, as are the moss-grown stone lanterns, the winding paths made of flat stepping-stones, and the several tsuridono, or summerhouses, poised above the water. This is supplied by the adjacent Katsura-gawa; the yellow water-lilies (kbhone) which sometimes idealize its surface are the Nuphar japonicum or Nymphaea. The islets, bridges, shaded walks, and the many beautiful bamboo, cherry, pine, maple, icho, plum, and other trees have their historical significance, Some having been presented by daimyos and other exalted personages. The several tea-houses occupying eminences overlooking the pond, and in which they are often charmingly silhouetted, are constructed in the severe cha-no-yu style. The visitor may perhaps be interested in the one wherein, to reach the chaseki, or general meeting-room, Imperial visitors had to crawl on all fours through a sliding door not above 2 1/2 ft. sq., then close this with an audible click to apprise the host of their presence. Hard by this relic of a singularly puerile observance stands a diminutive, moss-grown stone lantern overlooking the quiet pond, called the ‘firefly cage/ from the circumstance that fireflies were confined herein to heighten the charm of the crepuscular view from the opposite shore. Farther along is the Katiura-no-miya (shrine) with a plain but pretty interior,

The tea-house with the locally celebrated ‘six-window room’ is ascribed to Kobori Enshu, who deemed it proper to leave one of the tiny bamboo windows unfinished as a sop to the gods for having excelled them in the construction of so perfect a masterpiece! The guide shows a tawdry piece of velvet here (the first imported into Japan) that is supposed to have come from China many centuries ago.

The irregular regularity of the garden and its formal purity of style impress one pleasantly; the contrast between the wild and rugged, and the soft and gentle in the restricted but beguiling landscape, soothes the senses of the modem just as it must have calmed the Imperial mind in the past, since the Japanese find harmony in differentiation, and a quiet joy in contrasts sharp enough to disturb an Occidental mind.

North-Central and East Quarters.

Shogun-Zuka. *Zoolooical Garden. Heian Jingu. ♦Commercial Museum. Imperial University. Doshisha University. Shimo-Gamo, Kami-Gamo. ♦Shugaku-in.

Shogun-Zuka, 10 min. walk up the hill (Kacho-zan) behind the Miyako Hotel is worth a visit for the splendid view visible from the summit. In a.d. 794 the Emperor Kwamviu caused to be buried here a clay statue 8 ft. high, clad in armor and equipped with a bow and arrows, to scare away any evil spirits that might be prowling round. According to a popular belief the shogun, Sakanoe no Tamuramaro (d. 811), is buried here, and because he anciently protected the city from the inroads of the barbarous Ainu, it is believed that when danger now threatens the city a noise comes from his tomb. The pine trees near the spot were planted by Admiral Togo and General Kuroki. The slope of the hills hereabout is thronged with mushroom-hunters in Oct. Far down at the right one sees the Kyoto waterworks and a number of reservoirs (one designed for the special use of the Palace), and beyond them the long incline up which boats travel to the level of Lake Biwa. The green ridge forms the watershed between this lake and the Yamashiro plain. The small temple here is dedicated to Dainichi-Nyorai. The cool woods road which leads to the right descends to the Chion-in; that at the left follows the crest of the ridge (splendid views) to (45 min.) Kiyomizu-dera. From the sinuous and finely shaded path there lead down at intervals pretty byways that flame with maples in Nov. Crumbling tombs are every where, and many neglected shrines decay quietly in the thick pine and bamboo groves. The lower slope of Higashi-yama is crossed and recrossed by a labyrinth of shaded trails, by whimpering brooks, and by thickets that shrill incessantly in summer with the voice of the mirthless cicada. Kiyomizudera is approached from the rear, over an arched bridge.

The *Zoological Garden (Dobutsu-en), near the Hiromichi Bridge (Pl. E, 3), was a gift to the city in commemoration of the wedding of the present Mikado, and is of considerable interest (open from 9 to 4; admission, 5 sen) to those desirous of studying the fauna of Japan and contiguous countries at close range. There is the usual assemblage of African lions and stock animals, with several fine Korean and Japanese bears (kuma), a splendid Manchurian tiger (tora), indigenous monkeys (saru), wild boars (inoshishi), foxes (kitsune), seals (ottosei), etc. The big eagle (washi) is from the Hokkaido. Among the local birds are pheasants (kiji), falcons (taka), cormorants (u), and egrets (shira-sagi). The curious honey-buzzard (Pernis apivorus) is from Yamashiro Province, as is also the crop-eared owl (Strix Brachyotus). The splendid lot of sacred cranes (tsuru — Grus Japonensis) are emblems of long life and are usually prominent objects in the applied arts. During the quiet hours of the night they make the welkin ring with their shrilling. When one starts, the others break in, in different keys, and produce a wild and pleasing minstrelsy.

The Heian Jingu (or Taikyoku-den), a group of highly picturesque structures near the Zoo, dates from 1895 and commemorates the 11th centenary of the establishment of the Imperial Capital at Kyoto. The main structure is supposed to be a reproduction of the original Taikyoku-den — an edifice attached to the ancient palace erected by the Emperor Kwammu (to whom the present shrine is dedicated) in the 8th cent. The green tiled roofs (after the Chinese fashion) with their gilded finiata are among the most attractive in the city. The finials in question are significantly like certain of the architectural expressions employed by the early Mexica in Anahuac. A fee of 10 sen is charged to see the nondescript garden at the rear. The historical festival associated with the shrine is mentioned at p. 404. — The tall metal pillar at the back of the garden is an evil-averting Sorinto. — The edifice at the left, in a park-like space with some cannon brought home from the Russian War, is the Butolcu-den, or Hall of Military Virtues (founded in 1896). The fierce demonlets perched on the corners of the tiled roof and the scowling antefixes emphasize the militant idea. Judd exercises may often be witnessed here.

The *Kyoto Commercial Museum (Shohin Chinretsu-kwan), a permanent institution (open daily, no fees) housed in a commodious structure (cost 182,000 yen) near the Zoo (Pl. E, 3), in Okazaki Park, was opened in 1909. Its trefoil crest, symbolic of the manufacturer, the merchant, and the consumer, indicates its aim. The varied and beautiful display of products manufactured in Kyoto is worth seeing. — The new brick structure opposite is the home of the excellently equipped Public Library.

The Imperial University, (Dai Gakko) stands in a district called Yoshida (Pl. E, 2), was founded in 1897, and is a sister institution to that at Tokyo. There are Colleges of Law, Science, Engineering, Medicine, etc., and a growing library.

The Doshisha University, founded by Dr. Joseph Hardy Neesima in 1875, is N. of the Imperial Palace (Pl. C-D, 2), and has for its main object the advancement of Christianity, literature, and science. University courses were opened in 1912. Missionaries of the American Board have aided greatly in its upbuilding, as have also many generous foreigners and Japanese.

The Shimo-Gamo (or Kamo), a Shinto shrine in the N.E. quarter (E, Pl. C, 2) in the Kamo District, where the Kamo and the Takano rivers join, is one of the oldest religious foundations in the city and is said to date from a.d. 673 — * •nearly a century before Kwammu moved his capital from priest-ridden Kara. The original structure, which disappeared long ago, was built by the order of the Emperor (from 673 to 686) Temmu and dedicated to Ekazuchi no Mikoto and Tama nori Hime — parents of the tutelar of the Kami-Gamo Shrine described hereinafter. It ranks as one of the 22 chief shrines of the Empire, and is of interest to foreigners chiefly for the beautiful park wherein it stands. The approach (cross the Aoi Bridge, 5 min. walk beyond the tram-car terminus) is through a long avenue of splendid cryptomerias and other trees interspersed with superb maples, whose autumnal tints attract nature-loving Japanese by the thousands. It is a favorite resort of the Kyoto people, to whom it is known as the Tadasu-no-mori (‘Forest of Tadasuf). Several huge brilliant vermilion torii point the way to the immense gateway of the same color, and form striking contrasts with the deep green of the lofty trees. The shrine and most of the auxiliary structures were renovated or entirely rebuilt in 1911; the roofs are thatched in the pure Shinto style, and the beam-ends sheathed in richly chased brass sockets. The crest everywhere in evidence is the aoi (asarum). May 15 of each year the historical Aoi Festival procession repairs to this shrine, and at the termination of a solemn ceremony, recrosses the bridge and proceeds up the broad embankment [dote) which flanks the Kamo-gawa, to the companion shrine mentioned below.

The Kami-Gamo, or Upper Kamo Shrine (E, Pl. C, 2), at the N.E. edge of the Kamo District, about 1 M. beyond the Daitoku-ji, is dedicated to Wakase Ekazuchi no Mikoto. The grounds are handsomely laid out, but are less extensive than those of the Shimo-Gamo. Two crystal brooks rush and gurgle through them, and the old moss- and lichen-splashed trees in the inner section make an impressive background for the flaring red torii forming the gateway. The curved bridge with its 8 metal giboshu is reserved for the Imperial messenger.

The Shugaku-in (E, Pl. C, 2), a group of fine gardens dotted over with a number of small summer-houses occupying an admirable site (in the N.E. suburbs) on the S.W. slope of the Hiei-zan foothills, about 4 M. from the hotel.

Autos for the trip can always be arranged for at the hotel, and they will be found cheaper and quicker than jinrikishas.

They date from the 17th cent, when the Emperor Go-Mino-j planned them for the enjoyment of his leisure hours during a 50 years’ retirement. The main garden is superlatively beautiful, and beside being one of the finest in Kyoto, offers a striking example of what can be made of a bare hillside with a southern exposure in a generous climate. Within its vast circumference there is almost every variety of aspect — mountain, plain, valley, distant views, sequestered nooks, waterscapes, etc. Unless one is a tireless walker, and can plan to be at the entrance of the garden at 8 a.m. in summer or 9 in winter (opening time; closes 4 p.m.) and have a jinriki ia readiness to hurry one directly over to Shirakawa when the inspection (which will take about 40 min.) is completed, one haa best not include the Shugaku-in in a walking trip (for which one should start fresh) over Hiei-zan, since the gardens are extensive, and there is considerable up and down hill tramping to be done.

After crossing the bridge beyond the tramway terminus, pedestrians will bear to the left, continue along the river bank opposite Shima-Gamo, and pass the big mill of the Kanagafuchi Cotton Spinning Co,; 30 rain, beyond the bridge the road forks, and 15 min. still farther beyond the right branch forks again. By turning up at the left and traversing the main street of Shugaku-in village, the plain entrance to the garden is soon descried. Permits are examined at the custodian's office within at the left, and a local guide (no fees) conducts one through a 2d gate, then up (J M.) an avenue flanked by dwarfed pines leading to the first summer-house.

The panorama from the terrace on which the house stands is fine and far-reaching. Down the long stages marking the descent to the valley on which the city spreads out broadly, peasants may be seen busily engaged in agriculture, or plodding along the white highways. Dense groves of rare trees clothe the sharp hillslopes behind, while at the foot, restrained by the verdure-covered, flower-decked walls of a sinuous dike, and fed by a number of murmuring, cascading mt. rills, is a lovely pond (Dragon Lake) overshadowed by great willows which clip their long green fingers in the quiet waves. Near the shore, and linked thereto by a picturesque wood and granite bridge (copied from a famous one in China and presented to the Mikado by the daimyo of Echigo) is an adorable little island, tended like a jewel and flecked with groups of carefully disposed shrubs and flowers. The cherry blooms are ravishing in spring, and because of the sheltered character of the spot, the maple leaves often retain their glowing tints

until mid-December. These range from tender yellows to violent reds, and the artistic environment greatly enhances their charm. A serpentine path descends from the tea-house (called Kami no 0-ckaya> a name frequently applied to the garden), behind which is a pretty waterfall. The square frail structure beyond the arm of the lake, surmounted by the imperial crests, is reserved for the use of the Emperor and Empress; the beautiful hedge beyond it, of pine and mountain tea-flower, is 20 or more ft. across the top.

A lateral avenue leads past a low, fantastic pine tree trained after the fashion of the Karasaki Pine (p. 504), and another pretty lakelet, to the Naha no 0-chayaf the Empress's sometime retreat. The most interesting objects in the inteiior (shoes must be removed) are two old sliding cedar doors on which, cleverly painted by an unknown artist, is a net with two realistic rents, inclosing some strikingly lifelike carp; the same design is repeated on the reverse. According to the tradition, the fish were painted with such fidelity to nature that until the nets were made to inclose them, they used to go out each night and revel with their friends in the pool near the house! Certain of the small silk squares pasted on the old fusuma are excellently done, as are also the small sliding panels by Yusen. The little polychrome metal flower-carts employed to cover the bolt heads in the apartment are lacelike in their delicate beauty. The faded old gold-stippled fusuma in the adjoining room with their landscape views are quaint memorials of bygone days, and the admirably painted cars on the cedar doors are of the sort used in the Gion matsuri. A close inspection of these carts shows them to be filled with roysterers and flowers — first-class work by Sumiyoshi Gukei. — The Shimo no O-chaya (Lower August Tea-House) stands near the office and is the last shown; the traveler will not spend much time over the indifferent old sepia fusuma of Chinese figures by Ganku — founder of a school whose adherents admired this style of work; nor yet over the wan old junks on their faded backgrounds. There is another pretty little garden hard by, with water rippling through it and some handsome trees and flowers. Conspicuous among the shrubs are the big Ardisia crenulata (manryo), much cultivated in the conservatories of less favored countries for their fine red berries; and the equally striking Nandina domestica (nanien).

Northwest Quarter.

Kitano Tenjin. *Kinkaku-ji. Daitoku-ji. Kenkun-jinja. Toji-in. Omuro Gosho. Takao-san. *Miyoshin-ji. Kyoto Nursery. Saga-no-Shaka-do. Arashi-yama. Rapids of the Hozu-gawa.

The Kitano Tenjin (often called Tenjin Sama and Kitano-jinja), a picturesque Ryobu-Shinto (p. ccxvi) temple (Pl. B, 1) in the N.W. suburb (about 3 M. from the Miyako Hotel;

tramcars are available, but an auto will be the best vehicle for the purpose) is one of the gayest and most popular of the local fanes. The original structure is said to date from a.d. 836, but in all probability this was razed and a new one substituted when the present honden was constructed by Toyotomi Hideyori in 1607. Its great popularity dates from 959 when the spirit of the loyal Sugawara Michizane (see Dazaifu) began to be worshiped under the title of Temmangu. Toyotomi Hideyoshi added considerably to the renown of the shrine when in 1588 he gave here his tea-festival, the Kitano dai cha-no-yu. When the monthly (25th day) and annual (Oct- 4) festivals (procession of religious floats — zuiki matsuri) are held, the stranger may be puzzled to decide whether the shrine is a religious resort or a local Coney Island. A host of restaurants, stalls, peep-shows, and catch-penny devices are rigged up; flags and streamers adorn the scores of stone lanterns; colored cravats, bibs, and shoestrings are tied round the necks of the marble and bronze horses, cows, and bulls (which here supplant the customary Binzuru), and an air of feverish joyousness pervades the locality. Then the ailing and the sinful, believing that a miracle will be performed in their favor, repair hither to rub the bulls, then the corresponding part of their own anatomy requiring medical attention; fill up on peanuts, melon-seeds, calamitous drinks, and native goodies; clap their hands, bow their heads, and make their orisons before the monuments, the trees, an'd even the fence-posts; run a hundred times round the square formed by the oratory and the building abutting on it from the rear; and then, having thus propitiated the spirits and laid the corner-stone for the realization of some cherished (and perchance rascally) wish, they go home logy, happy, and filled to the chin with irreconcilable stuff which they ought never to have eaten.

The entrance to the wide inclosure is marked by a huge granite torii — one of several succeeding ones to be passed under before the shrine is reached. The bronze horse at the left is manifestly a relic of the bronze age, before art was developed. The fine new gateway, finished in the natural keyaki, embellished with 16-petal chrysanthemums, with its beamends sheathed in polished brass embossed with tracery and a tiny raised crest of the Imperial flower, is unusually attractive — the metal against the velvety brown of the wood producing a very harmonious note. The customary figures of Udaijin and Sadaijin sit in the loggias at the right and left, and Ama- and Koma-inu at the rear. The usual granite and bronze lanterns, as well as the lurid pictures and carvings (many of them bulls) in the ex-voto hall at the left, are gifts from devotees. The Inner Gate (Sanko-no-mon, or ‘Three Luminaries’) opens into a small square formed by the temple

at the back and colonnades at the right and left. The saketuba and other junk beneath these are material gifts from votaries. The maze of wood-carvings which once adorned the main structure are now badly blurred; those beneath the eaves of the picturesque and complicated roof are better preserved — groups of polychromatic birds, tennin, and other symbols forming the motives. The interior is a jumble of lanterns, pictures of tigers, and other offerings, conspicuous among them scores of polished mirrors ranging from tiny ones to others 4 ft. in diameter. The numerous small detached buildings in the compound are of no interest. — The shrine in the pure Shinto style of architecture behind the big red torii, down the road (left) from the rear gate, is the Hirano jinja. The plum trees hereabout are beautiful in early spring.

The *Kinkaku-ji, or Golden Pavilion (Pl. A, 1), known also as the Rokuon-ji, is in the N.W. outskirts about 4 M. from the hotel, and can easily be reached on foot in about 1 hr. Tramcars will carry one part of the way. Autos are always available. The Kitano Tenjin can be included in the trip.

The broad highway leads from the left of the rear gate to the Kitano Tenjin, passes the red torii guarding the uninteresting Hirano-jinja, then turns abruptly to the right and serves as the main st. of a small suburban settlement. A walk of 10 min. (bearing to the left) brings one to the big grove of trees in which the temple and pavilion are situated. Springtime, when the flowers are in bloom, or Nov., when the maples are turning, are the best seasons, albeit the Japanese regard the pavilion as loveliest when the snow covers it. One half-hour is sufficient for an inspection of the temple, garden, and pavilion. The major portion of the paintings and other relics preserved in the abbot’s apartment are not worth much.

It is believed that its finest art treasures disappeared long ago.

The Golden Pavilion (kinkaku) and the temple (ji) — the latter the property of the zen sect of Buddhists — owe their origin to the 3d Ashikaga shogun, Yoshimitsu, who, upon his cession (in 1395) of the shogunate to his son Yoshimochi, retired to a small estate belonging to Saionji (a court noble) and there built for himself a retreat from which ho continued, though nominally a Buddhist monk, to direct the affairs of State. After his death in 1408 his dwelling was converted into a temple called Rokuon-ji; of this group of edifices the only remaining one is the pavilion. The Hojo, or abbot’s residence, was erected between 1673 and 1680. The former, which stands in the garden apart from the temple, is considered one of the choicest specimens extant of the architecture of the early Ashikaga period. Though it lacks great dignity and impressiveness, its graceful diminutiveness and its delicacy of design — particularly when compared with the ponderous temples which rise in other quarters of the old capital — are pleasing. The adorable little garden in which the pavilion stands is thought by some to rival in beauty and charm the fine Imperial summer gardens of Katsura, and the Shugaku-in. Both the structure and its delightful environment are expressive of the unquestioned taste of the great statesman who brought them into being. When by ceaseless labor and tact he had elevated the shogunate to a hitherto undreamed-of plane of wealth

and powerful fabric which his grandson Yoshimasa succeeded in demolishing) and had skillfully secured the succession to the Ashikaga, he retired hither to delight in the society of poets, painters, and the learned bonzes whom he had always favored and who revered him as their indulgent master.

The temple-office is at the right of the big gate; the admission-fee is 20 sen and the ticket must be given up at the entrance to the garden. The acolyte conducts the visitor first through the several small rooms of the abbot’s apartments and shows him a number of mediocre sliding screens and kakemono. The small shrine room called the hondo has some fusuma with drawings of Chinese sages in black on a white ground, ascribed to Kano Tanyu. At each side of the altar are prized pictures by Cho Densu, depicting the great religious teachers, Buddha, Confucius, and Lau-tsz’ (the founder of Taoism). The folding screen showing heads of Chinese boys is not as good as the kakemono of the Rakan, or the 3 excellent ones (by some unknown Chinese painter of the Ming Dynasty) with Chinese sages playing games or engaged in literary discussion. Time-stained doors with Chinese figures shut off the corridor, at the end of which we overlook a dainty little garden with a celebrated pine tree (about 200 yrs. old) trained in the form of a native junk and called Rikushu-no-matsu. In the adjoining room are some old bronze and lacquer relics that once belonged to Yoshimitsu; some sliding screens of winter scenes by Tanyu, and some poor kakemono showing cocks and hens by Ito Jakuchu (1715-1800) which discredit him. All the panels in the following room are by him, and some of those in the next one — where there are also some in

black and white by Kano Tsunenobu. The landscapes are now almost indistinguishable, and the painting of the vapid Hotei does not appeal to good taste. The 7 old bronze windbells are said to have long hung from the eaves of Yoshimitsu’s dwelling. The most noteworthy object here is a folding gold screen (by Soami) displaying graceful white chrysanthemums.

' We now enter the Sho-in, or drawing-room, which contains some better panels of cranes by Jakuchu; the elevated dais was for the use of the Emperor when he visited the place. The

Eriest here points with pride to a series of small sliding cupoard screens ornamented with a badly faded dog, cow, fish, bird, and peony by Sumiyoshi Hiromichi (1599-1670). In another room are some highly prized kakemono by Shubun. The picture of a sour-faced monkey hanging by one arm from a branch’ of a tree is said to have belonged to YoshimUsa. Those at the right are ranked by the priests with the choicest relics of the temple. The chrysanthemum-screen (perhaps) by Ogata Korin is not in his best manner, and is less effective than the large one (by an unknown artist) showing two stately white cranes on an old-gold ground. Before proceeding to the

garden the visitor is sometimes conducted to a small room

where choice unsweetened, powdered tea, made ®iek, and whipped to a froth, is served in the cha-no-yu style. — Crossing the court to an opening in the fence one enters the garden and follows the path that winds round the edge of the tranquil little lake encircled by fine trees and sometimes covered with a flowering aquatic plant called junsai (water-shield — Brasenia peltata). Many of the surrounding stones bear fanciful names and are placarded; almost every spot in the delightfully poetic and sheltered retreat is intimately associated with the memory of the great shogun who left it as a reminder of his refined taste. The most conspicuous object in the garden is the

Golden Pavilion, a small, three-storied, summer-house about 30 by 40 ft,, encircled by narrow galleries, with the upper story considerably smaller than the lower. The piquant upward tilt of the roof suggests a Shinto shrine. The edifice stands on the N. shore of the islet-dotted lakelet, whose mirror-like surface, when free from flowers, reflects in a pleasing way the rich patina of the gold foil restored to the upper story in 1906. The gleaming sheets of this metal which once covered the entire structure have disappeared, leaving only scrappy and smudgy traces which detract from the charm. Surmounting the structure is an awkward bronze phoenix, with outspread wings, a counterpart of the one preserved in the abbot’s apartments. Bronze wind-bells pend from the eaves and tinkle thinly but sweetly to the touch of the soft breeze. The five stones in the water near the entrance were brought from China. In the lower room (shoes must be removed at the entrance), at the small altar, is a seated figure of Amida carved by Jocho and presented to the shrine by the Emperor Go-Mino-o. The standing figures are Seishi-bosatsu and Kwannon, the latter ascribed to the overworked Unkei. All these, as well as the seated figure of Yoshimitsuf in the reliquary at the left, are treasures of the nation. On a little balcony which juts out from this floor the shogun used to sit and watch the moonbeams as they traced argentine shadows on the rippling waters of the lakelet, and perchance dream of the instability of mundane affairs. The big gold and gray carp come in answer to the call to be fed.

A short flight of steepish steps leads to the 2d floor, where there is a shrine embedded in a sort of rockery with a tiny gilded image (attributed to Eshin, 942-1017) of Kwanzeont flanked by large sculptured wood statues of the Shi-tenno (ascribed to Kobo-Daishi). The painting of tennin and peonies on the ceiling, now so worn as to be scarcely distinguishable, is the work of Kano Masanobu. The bare room has a low ceiling said to be of a single strip of camphor-wood (doubtful in view of the fact that it is 20 ft. sq.). From the balcony of the upper story one gets a beguiling view of the

pond an <!fthe beautiful foliage reflected from it. The lofty hill visible at the right is called Kinukasa-yama (‘ silk-hat mt.’) from the circumstance that a certain capricious mikado once ordered it covered with white silk so that in summer it would resemble snow. — In a small house in the garden is a carved wood model of the kinkaku-ji; hard by is a tiny spring where the shogun obtained the water he used to boil for his teaceremonies — for which he had a passion. Farther along,

Eerched on an artificial craggy slope, is a quaint little teaouse (constructed of wood of the Nandina domestica) where these ceremonies were conducted. The diminutive waterfall near by is called the Dragon Fall. From its fanciful resemblance to a carp, the stone below it is called Carp Stone. The visitor is dismissed near a shrine dedicated to Fudd. Leaving the garden through a near-by gate, one descends a flight of stone steps to the road below the main entrance.

The Daitoku-ji (Pl. B, 1), the seat of a subdivision of the Rinzai branch of the Zen sect, stands back in a stately old walled park in the N.W. quarter, and was founded in 1323 by the bonze Daito-Kokushi (Myocho) — who afterwards became its abbot. Time was when it possessed wealth and influence and was of importance in the religious life of the inhabitants of the old capital, but the remorseless years have shorn it of its splendor and of most of its numerous dependencies (at one time upward of twenty). During the centuries of its existence, some celebrated men were counted among its bonzes: Ikkyu in the 15th, Takuan in the 17th, and others. Until quite recently it possessed considerable property in mortmain, and a collection of art treasures which made it a pilgrimage of all lovers of the various unique phases of early Japanese craftsmanship. Foreign and native collectors have, however, carried off so many of the best pieces that what are left will hardly repay the traveler for the time and trouble spent in seeing them. They are kept in a special godown opened only in the presence of two or more caretakers, while a third needy trustee holds the key. At least 3 days’ notice must be given by those who wish to inspect them, and the expense incurred (never less than 5 yen) must be paid by the applicant. The choicest treasures consist chiefly of relics of Oda Nobunaga (whose tomb is within the precincts); calligraphic records of several early emperors; a lot of somewhat trashy kakemonos by early artists of the Kano school, and a few valuable (to the priests) bits of Korean and Chinese porcelain as uncomely as they are old. The fusuma, kakemono, and what-not scattered through the various priestly apartments and adjacent buildings within the wide inclosure (considerable walking) make but a weak appeal to the average Occidental. The misty landscapes by Soami; the Chinese scenes by Shubun; the Kwannons by Kisokotei, and Godoshi, as well as the several

kakemono by Sumiyoshi Gukei, are none as fine or as well preserved as the series of 12 pictures of the Rakan — brilliant and vigorous examples of Chinese art of the early Yuen Dynasty — which the late Mr. Fenellosa bought and sent to the Boston Museum of Fine Arts. After having seen the residue of the time-worn collection, the critical traveler is not unwilling to credit the whispered report that most of the really fine old treasures have disappeared and that spurious ones have replaced them — a common procedure in Japan. One of the choicest gems of the collection, a beautiful Kanaoka Kwannon of exceptional refinement, painted in marvelous velvety black bordered with delicate gold tracery, was acquired by a French artist in 1900. The Well-executed substitute, in charming rose flecked with black and gold, shows the goddess standing on a lotus all swathed in diaphanous scarves, while a boat containing a man and a child buffets the angry flood at her feet. Though ascribed to the immortal Kanaoka, it shows little of the masterful quality of his work. — Closely identified with the life history of the Daitoku-ji is the name of Rikyu, Hideyoshi’s aristocratic master of the tea-ceremonies. He designed one of the chaseki of the apartments, the others being by Kobori Enshu and considered as the last word in that subtle craft. The curious old sculptured wood image of Rikyu, carved by his own hand, is greatly prized by the temple authorities, and is enshrined in a reliquary in the upper story of the big sammon.

The Hojo, which directs the group of surrounding temples, and to which the visitor is now conducted, is nearly 300 yrs. old. The apartments (with ‘nightingale’ floors) contain some sepia fusuma with freely sketched landscapes (by Kano Tanyu) showing mt. views in the heart of China (one of Godoshi’s favorite themes), and some folding screens depicting Chinese boys at play. The heavy black-lacquer equipment of the shrine in the first room imparts a gloomy look to it; the handsome embroidered brocade hangings of the entrance to the recess, almost covered with white wistaria (shiro fuji), formed part of the original ceremonial robes of Nobunaga. The gilded image at the altar is of Shaka Nyorai. The small reliquary at the right contains an image of Daito-Kokushi, and the recessed one at the left the funeral tablets of Nobunaga.

aga and Go Daigo-tenno. A prized possession is the ugly old polychrome wood and iron incense koro (of Chinese origin and said to be 700 yrs. old) called Devilfish Incense-Burner from its fancied resemblance to one of these repulsive creatures.

The two old-gold folding screens (by Kano Tanshin) depict the cherry blooms of Yoshino and the maples of Tatsuta. In a side room (which the visitor should see) is a bizarre kakemono showing a Kwannon against a black background; her drapery, the lotus on which she sits, the shadows and the

nimbus are all made up of minute ideograph characters written in gold, setting forth the text of the Buddhist Bible — hence the name, Kyomon kinji Kwannon. The (modern) work, which must have required years of painstaking toil, and which shows the caressing touch of a hand at once talented and fired with religious zeal, is a marvel of microscopic perfection. — The big iron rice-kettle on the porch formed a part of Hideyoshi’s camp equipment. From a certain point on the side porch an attractive view (one rendered locally celebrated by Kobori Enshu, who designed the garden) is had of Hiei-zan, which here bears a slight resemblance to Fuji-san. The fringe of pine trees along the edge of the Kamo-gawa, in the near foreground, is supposed to recall the classical shore of Mio-no-Matsubara. The pretty front garden with its always freshly raked pile of sand in imitation of the sacred Fuji, was also designed by Enshu. — The Higurashi-no-mon (gate) at the other side is a national treasure, and came from Hideyoshi’s Momo-yama Palace (goten); though now sadly weather-beaten and stained, it still shows the vigorous touches of Hidari Jingoro’s master hand. The pair of huge peacocks which stand on the central beam are admirable; pine trees, the mythological kirin, the dragon, and various flowers are employed in the motive.

The traveler with time to spare will wish to spend some of it strolling through the stately, park-like grounds sprinkled with grandiose architectural relics and crossed by avenues of patriarchal trees. They are not unlike the beautiful circumvallation of the Miyoshin-ji (described hereinafter), particularly when flaming with reddening maples or the clustered red berries of the prevalent nanten. The temple bonzes often add to the monasterial aspect of the place by wearing resplendent old-fashioned costumes in which queer shovel hats and brilliantly embroidered Chinese shoes are conspicuous features. As they pace slowly along the sequestered walks beneath the lofty trees, mumbling their prayers and clicking their rosaries, they recall certain of the conventual estates around Seville. — From every salient point of the great temple roofs, now sadly mauled by the elements, there look down demon-tiles, or Onigawara. The furious distorted faces remind one strongly of certain human types, as they evidently do the natives, since a sour-visaged person is frequently called Onigawara! — Before leaving the grounds a moment should be devoted to the hoary, barn-like, impressively silent Hodo, with a sepia dragon on the ceiling by Kano Tanyu. The finely gilded Shaka in the tile-floored Butsu-den is also worth looking at. The polychrome tennin on the ceiling are now faded beyond recognition.

The Kenkun-Jinja, a Shinto shrine, 10 min. walk S.W. of the Daitoku-ji (Pl. B, 1), crowns the summit of a rounded

hill (fine view) called Funaoka-yama from its fancied resemblance to a fane, or boat. The new granite steps date from 1912, when Kyoto city gave 1000 yen and the Emperor 700, for the rehabilitation of the decaying fane. The spirit of Oda Nobunaga is worshiped here, and his crest shares the place of honor beside the 16-petal chrysanthemum; the numerous pictures in the ex-voto hall refer to his epoch. The old green machine-gun in the yard at the foot of the short ascent was captured from the Russians during the late war. — The district which one traverses to reach this shrine, or the Dailoku jif is the Nishijin quarter, where much silk-weaving is done.

The Toji-in an historic Buddhist temple (Pl. A, 1) about i M. S.W. of the Kitano Tenjin (jinriki in 10 min., 15 sen), was established about 1360 by Askikaga Takauji and is known for its collection (of historic rather than artistic interest) of sculptured busts of all the Askikaga shoguns except Yoshi kazu (5th, 1423-25) and Yoshihide (14th, 1564-68 — murdered when 4 yrs. old by his guardian). Some of the images were removed to the dry bed of the Kamo-gawa (where the heads of criminals were formerly exposed), in 1863 (when iconoclasm was considered meritorious by certain pseudopatriots), and others substituted by carvers of meager skill. Individual character is strongly depicted in a few of the faces, most of which are adorned with tiny mustachios and small black goatees. Puffy-checked gourmands, hatchet-faced recluses, and square-jawed dictators predominate. Flowers and tea are placed before the figures every day. — The broad road leads left from the granite torii at the entrance to Kitano Tenjin, and the distance can be covered leisurely on foot* in 15 min.; the last half is across country past garden patches where turnips almost as big as watermelons are produced. The temple stands in a pretty bit of woodland which flames with maples in early Nov. The rounded summit of Kinukasa yama starts up at the right; the big gate sits quite across the end of the path and is unmistakable. Tickets (10 sen) must be bought at the wicket inside at the left. The interior of the edifice is like a primitive Anglo-Saxon grange, with big hewn beams and tree-trunks set into white plastered wfalls — after the Yamato style. The rooms containing the exhibits of screens and minor relics are skimpy, and their faded contents without much merit. In the first room the bonze shows one a kakemono of Daruma in rosy flesh pink, erroneously ascribed to Sesshu; the next one contains a fairly good landscape in rich old green on a faded gold ground by Kano Sanraku. In this and the following rooms are also a helmet and spear which belonged to Takauji; some aged relics of YoshimitsUy many kakemonos and banners inscribed by famous men; some old clocks, bits of lacquer and bronze, and a few sliding screens of Jittle value.

The visitor is now conducted across a small landscape garden whose withered and puckered appearance may be due to the astringent juices of the many persimmon trees which grow therein. Soami is said to have planned it, and it was one of Yoshimasa’s favorite retreats, whither he came often to hobnob with the scholar and to drink tea in the quaint little rustic house which overlooks one of the ponds. Near by is the moss-grown tomb of Takauji. Connected with the main temple by a corridor, and entered from the side facing the garden, is a tomb-like room with a cold concrete floor (footcovering desirable) where the collection of images is enshrined. The big dragon on the ceiling is accredited to Sozan. The first figure at the left is Yoshimasa, the 8th shogun, and following in the order named, are: Yoshikatsu, 7th, who succeeded his father when 8 yrs. old, and died 2 yrs. later from a fall from his horse; — Yoshinori, 6th, who was assassinated in 1441 at a feast to which he was invited by his friend Akamatsu Mitsusuke — Yoshimochi, 4th; — Yoshimitsu (with a sweeping beard), 3d, after Takauji, the most remarkable of the Ashikaga shoguns; — Yoshiakira, 2d; — and Takauji, founder of the dynasty. At the end of the room is a shrine with a seated figure of Shaka. accompanied by Anan (a relative and one of his first disciples); and (left) Kasho (also a disciple), who is remembered because he is said to have swallowed the sun and moon — after which his body became more brilliant than gold! His black-and-white checkered robe displays none of this brilliancy. Nor do any of the images display the masterful touches of the great Unkei to whom they are airily attributed. The figure with black wood Chinese shoes sitting before him, on the opposite dais, is the renowned Tokugawa Ieyasu; his neighbor is Yoshihisa, 9th (Ashikaga) shogun; the next Yoshitani, 10th; — Yoshizumi, 11th; — Yoshiharu, 12th, a small, dyspeptic man apparently too anaemic to grow a beard, and looking much like a dwarf between the well-fed, robust giants at his right and left; — Yoshiteru, 13th, who committed harakiri (p. clxx) when 30 yrs. old (in 1565); — Yoshiaka, 15th and last of the line, who was succeeded by Oda Nobunaga, one of Japan's greatest rulers.1

In the succeeding rooms are various belongings of the Ashikaga. In a small glass globe enshrined in a pagoda-shaped reliquary are three tiny objects about the size of bird-shot —

* The position of Shogun was not conducive to longevity. More than one was assassinated in early life, and great trials must have beset the others, for the average length of life of the 15 was 38 yrs. Yoshiaki died at 61. a humiliated, shaven-headed bonze who was forced to beg an asylum from his friends. Yoshitane died in exile at 58. Yoshimasa succeeded in living to the age of 65 by becoming a bonze and passing his last days in the quasi-seclusion of the Ginkaku-ji. His face carried a greenish tinge which is said to have been imparted by the great quantities of green tea drunk by him at his favorite cha-no-yu ceremonies. The great Takauji died of cancer at 53. Yoshimitsu died at 50, and the remainder at ages between 4 and 47.

one green, one white, and one brown j the credulous believe they are Buddha’s bones. Hard by is a folding screen and some sliding panels (by Sanraku) showing pictures of Chinese boys at play and depicting episodes in the lives of the Twentyfour Paragons of Filial Piety. The three rather striking kakemono of aesthetic priests (early votaries of the temple) are by Kano Tanyu. An autograph letter of the Taiko Hide yoshi is preserved in the next room, along with many other relics of him. The sliding screens in the shrine room carry Chinese scenes painted by Sanraku. The kakemono of the 16 Rakan is by an unknown (Chinese) artist. The Jizo in the shrine is ascribed to Kobo-Daishi. In an adjoining room is a quaint old Map of the Buddhist World, and in another one a banner on which Buddha’s name is written 3000 times! The dragon kakemono is attributed to Kano Motonobu — which should be accepted with reserve. The faded old tablet — a much prized relic — bearing the name of the temple was made by Yoshimitsu.

The Omuro Gosho (or Ninna-ji), a sometime palatial Buddhist temple (Shingon-shu) on a high terrace in a splendid old park with lofty cryptomerias and pines about 1 M. S.W. of the Toji-in (Pl. A, 2), was founded in 866 by the Emperor Koko, who retired thither after his abdication in 899, shaved his head and took the name Kongoho. The road from the Toji-in leads to the right, and on reaching the inclosing wall (5 white lines) bears to the left and passes the E. gate. Thousands of Kyotoites assemble here in early spring to witness the magnificent display of cherry blooms (which differ slightly from the ordinary flowers), and they repeat the excursion in Nov. when the turning maples exhibit their fugitive charms. The view from the upper terrace, past the main gate to the lowland beyond, is superb. The present temple, with a gloomy interior showing traces of former beauty, dates from the 17th cent. and is a contemporary of the sturdy old pagoda. The doors which defend the chancel from the narrow ambulatory are richly adorned with black metal fitments covered with gilt tracery. A strikingly handsome image of Shaka covered with heavy gold foil sits on the central altar and is backed by a fine mandorla embellished with numerous smaller medallion-shaped ones round the edge. The various sculptured and gilded divinities at the right and left form Shaka’s silent suite. The big kakemono of Buddha and his disciples is well painted. A bizarre and unusual feature of the interior decoration is displayed on the upright pillars and pilasters, each of which is almost covered with small painted medallions of Shaka. — The broad highway which runs past the massive gateway with its two gigantic Nio leads (right) to Takao-san (E, Pl. B, 1), celebrated for its annual display; and (left)

described below. The ferny dingles of the neighboring hills are favorite resorts of the Kyoto folks, and their beauty is celebrated that the railway runs special excursions during the flower seasons.

The *Miyoshin-ji (Pl. A, 2), a fine old Buddhist temple amid an agglomeration of weather-beaten but still sturdy dependencies, attractively situated in a 75-acre park lying about 1/2 M. E. of the Omuro Gosho, and a 2 min. walk up from the Hanazono (‘flower garden’) Station (rly. from the Nijo Sta. at Kyoto in 10 min.), was originally a villa which belonged to Kiyowara Natsuno (782-837) and which afterward (in 1318) became the favorite retreat (for 30 yrs.) of the Emperor Hanazono. He presented it to the bonze Egen (Kwanzan-Kokushi), who converted it (in 1350) into a temple and became its first superior. The original buildings were burned during the Onin war (1467), but soon thereafter were rebuilt and adopted as the headquarters of the Rinzai branch of the Zen sect. They are still excellent relics of a period when temples were constructed of the largest timbers the forests produced, with the object of defying time, earthquakes, and the elements. Certain of the edifices resemble big Swiss chalets and are constructed after the old Yamato type, with huge beams that show attractively against whitewashed plaster. The centuries have stained others among them a rich smoky brown, and their tremendously heavy roofs sheathed with gray, lichen-spotted tiles, and embellished with huge dragon-faced antefixes, blend harmoniously with the somber conifers, fantastic pine, cherry, and maple trees of the inclosure. The primitive architecture, as it has been preserved, represents faithfully and interestingly the quasi-ecclesiastic, semi-imperial residences which were characteristic of Kyoto and its environs in the early days. With their surroundings they are thoroughly charming. The houses of the priests sit back in sequestered, walled plots crossed by neatly swept flagged walks flanked by bronze statuary, and idealized by pretty landscape gardens that commemorate poems or war episodes of the dead past. Certain of the bonzes cultivate choice fruits and flowers that impart an air of repose and culture to their enviable retreats. There are upward of two score minor temples, priestly dwellings and apartments within the great park, and the temple organization is said to have 3000 or more dependencies scattered throughout the Empire. The sumptuous decorations which were lavished on the interiors of some of the buildings, and the splendid art treasures formerly contained in them, suggest wealth and refinement. Unfortunately the art collection is now incomplete, but the objects which remain point to the extreme antiquity of the establishment. Chinese pictures, etc., predominate, and as many of them date from the 11th

cent, and thereabout, it is thought that they were imported at a time when Japan was still under the deadening thralldom of Chinese educators.

The road from the Omuro Gosho brings one to the back gate; that from the Hanazono Station to the front or main entrance. No admission fee is charged; tips are customary and acceptable, but are not obligatory. The priestly guide conducts the visitor first to a room containing numerous relics; the two strikingly handsome madreperl Chinese screens were gifts from an early emperor; the pair of superb kakemono showing tigers and dragons — both the quintessence of energy and fierceness — are by some Chinese artist of the Ming Dynasty. The indifferent picture of a pop-eyed Daruma is ascribed to Kano Masanobu. The screen with nacre insets is manifestly Korean and is an excellent specimen of very old work. Among the other objects are two big panels of cranes, distinctively well executed, and ascribed to a Chinese emperor; a rich dark green kakemono, velvety in its verdant softness, depicting a Chinese landscape with mts. in the background and a picturesque temple in a romantic glen, also by an unknown Chinese painter; a kakemono in sepia, showing a Chinese river and mt. scene, by Toba Sojo; a repulsive, bulbous-bellied Hotei, drawn in faded ink, by Mokkei (a Chinese painter of the 11th cent.); two unequal tiger and dragon

Pictures by Kano Tanyu; and numerous pictures, bronzes, lacquered objects, and what-not, of greater or less worth. Those which the critic is apt to consider too conventional and too destitute of character to belong in the collection are perchance retained for their historic associations.

In the Hojo (where the prior dwells) are some effective folding screens with painted Chinese figures on a gold ground, by Yuso Kaihoku, and a very ordinary, neutral-tinted tiger and dragon screen by the same artist. The superior old Chinese madreperl stand, and the distinctively handsome brown silk kakemono showing flower groups are by an unknown Chinese artist. The next room contains a number of inferior fusuma, bearing landscapes and river scenes in dead white and black, by Kano Tanyu, but by no means in his best manner. The adjacent shrine room has a handsome black-and-gold-lacquered reliquary in which a gleaming Shaka sits in golden dignity between his faithful Monju and Fugen, and numerous mortuary tablets of dead notables. The floors are the so-called ‘nightingale' or singing floors referred to under Architecture (p. clxxx).

The Ceremonial Hall, with its cold stone floor and its wide, empty interior frowned down upon by a minatory dragon too hastily attributed to Tanyu, is supported by 48 huge pillars and pilasters, some of the former 2 ft. or more in diameter. The immensely tall pine tree which overshadows one comer

of the structure is called Sekko, from the priest who is said to have planted it upward of 450 yrs. ago. The corridor leads to the Butsu-den, with a ponderous altar of keyaki wood in the natural finish rising from a black-lacquered base; above it are some crisply carved Dogs of Fo, and dragons with bold, provocative ivory eyes. The central figure, seated beneath a shower of tinsel, is Shaka, with Kasho at the right and Anan at the left. Both the latter have variegated robes and all stand out in striking fashion from the plain gold background. The floor of the great hall is made of black tiles, and the chill of the winter (1881) when they were laid seems to have remained with them. The figures in the two smaller altars, with curious shovel hats and bizarre robes, are of early priests. The beautiful graining of the supporting keyaki columns is noteworthy.

The Revolving Library (Kyozo) is hard by the Butsu-den; the complete Buddhist scriptures are said to be archived in the big central reliquary, which though seemingly immovable is so pivoted that it can be revolved by a strong shove. The guardian demons around the base of the revolving stand are by Chis-en. Fu-Daishi occupies his customary seat, and hia cumbersome Chinese shoes sit at his feet awaiting his pleasure; but his two sons are absent. — A short walk down a flagged way between lines of dwellings formerly occupied by priests stands the Kaisando (Founder’s Hall) said to be 550 yrs. old; the pilasters all rest in bronze sockets, and the black ceiling imparts a dusky and mournful look to the black room. The image on the dingy altar is Muso-Kokushi, one of the first priests of the establishment. Hard by is the Nehan-do, whose chief object of interest is a thick, upright bronze slab intricately chiseled (by Yoshioka Bizen) with scores of tiny people, birds, and animals; all loved the Buddha and are now seen sorrowing as he lies above, being prepared for his entombment. The Kyokuho-in, which is also near by, is not generally shown unless the visitor asks to see it; the figure on the altar at the back of the main room is of the Emperor Hanazono. The four panels which serve as doors to the shrine are excellent specimens of 16th-cent. Korean madreperl inlay; the landscapes and houses are skillfully and carefully done. The gold panels at the right and left of the passageway are decorated with phoenixes by Kano Yasunobu, who also painted the very ordinary white and black fusuma in the adjoining rooms. Another room, to which visitors are not admitted unless provided with special letters of introduction, is of peculiar interest to art-lovers because Motonobu, one of the most celebrated painters of the Kano school (p. ccxxvii), spent several seasons here studying the subtle teachings of the Zen sect, and painting pictures which for many years made the Miyoshin-ji a Mecca for admirers of the great master’s work. His sometime studio stands back in a yard on the W.

side of the main temple, and is noteworthy for the bronze statue (in the yard) of Kwannon wearing an East Indian head-dress. The priest in charge of the rooms may ask the traveler with credentials to return another day, as the best pictures are generally stored in the fireproof godown. When they are brought out for inspection they are hung upon hooks driven into a cross-beam high up from the floor, then folded away. — Of the 49 excellent fusuma, forming one set which Motonobu painted and which better to preserve the Emperor Reigen (1663-86) caused to be mounted as kakemono; and of the 53 of another set of equal value, but 4 specimens remain, the rest having been distributed among the Nara, Kyoto, and Tokyo museums. They show two aspects of the genius of this Far Eastern master; the first set, of panels of large dimensions, displayed landscapes in the Chinese style, with persons walking in them 'marked by that somewhat brusque and angular drawing of rocks and trees which distinguishes one of Motonobu's manners. Some of the landscapes were continued in several fusumas, thus forming vast compositions. They were executed in color, with very light yellows and bistres; one a pure landscape without figures, representing geese going to drink.’ The second series of 49 were painted in Motonobu’s more normal manner; more Kanoesque, in black and white, and in the genre in which Motonobu's talent attains its finest achievements, but with a noteworthy suavity and delicacy of touch. The 'white of his beautiful paper, supple, rich, and generous, afforded him an ideal background for his delicate grays and deep blacks — fit media for the evocation of those landscapes in which a haze of dreams seems always to float! It is impossible to forget the beautiful snow-scene, the mountain background, with the hurricane sweeping obliquely across it, stripping the willows in its passage, and the gray, dead water, a mirror which reflects the desolate face of nature.’ (Migneon.)

The four kakemono which the bereft priest is able to show the stranger are the most precious of the temple’s possessions. Each is about 4 by 6 ft. painted on a background of creamy white wonderfully preserved; the motives are mts. and willows, cranes, pheasants, wild ducks, and other birds, with ponds and marshes. Every delicate line breathes the art of which Motonobu was past master. The fusuma which inclose the room carry landscapes in great variety — snow-scenes, mts., and rivers, valleys and plains. They have been badly handled and stained, and the faded blacks show drearily against the dimmed white background. In the shrine at the back of the room are two seated wood figures extraordinarily lifelike; the abbot Kokushi sits at the left, and his teacher at the right. At the extreme left is a small sculptured wood image of the Emperor Go-Nara. Motonobu’s mortuary tablet is here.

The Kyoto Nursery (Kyoto no-en) 2 min. walk S. of the Hanazono Station (Pl. A, 2), is well worth visiting (free, no fees) if the traveler finds himself in the locality. There is the usual collection of lovely flowers, with (in season) a choice exhibit of chrysanthemums. Among the varied specimens of this flower may be seen unique 16-petal ones amazingly like the Imperial crest, grown on collarettes and tended with the care one might give to a baby. Some resemble tousled poodles; each year some sort of a novelty is produced in chrysanthemum culture. Noteworthy freaks sell for 3-5 yen; others range in price (shipment possible by mail) from 20 sen upward. In winter a charge of 5 sen is made to see the orchids.

The Saga-no-Shaka-do, a Buddhist temple of the Jodo sect, 2 1/2 M. west of the Miyoshin-ji (E, Pl. B, 2) stands about 1/2 M. N.W. of the Saga Station (frequent trains in about 7 min.) in a region dotted with many fine groves of slim bamboos. Walkers will enjoy the tramp over the broad (3 M.) highway — which crosses the rly. just beyond the Hanazono Station, then a lovely, peaceful suburban district sprinkled with decaying temples in deserted groves. The electric trolley from Kyoto to Arashi-yama traverses the section and one is in constant touch with it. By following the rails to its station at Saga, one sees the rly. station just at the right, and the temple (12 min.) at the far left, embowered in evergreen trees. The (52d) Emperor Saga (810-23), celebrated as one of the finest scholars of the age, and counted as one of the famous Sampitsu (‘Three Pens’), built himself a palace here* after he had abdicated in favor of his brother Junna, and for 19 yrs. lived in retirement. The temple is said to have been founded at that time, albeit the present structure dates from the latter yrs. of the 18th cent. It stands in a fine grove of ancient trees, with here and there a lotus-pond. Two gigantic, prayer-bespattered Nio guard the big two-storied gate. At the foot of the temple steps are handsome bronze water-basins in lotus-leaf designs and near by is a bronze bell in an old belfry. If the traveler can so plan it, the trip to the temple should be made in early Nov., for then the view of the wooded slope of Arashi-yama, which overlooks it from the S., is beautiful with its deep-green foliage lit up here and there by brilliant blotches of reddening maples. The Arashi-yama gorge, too, is very near (tram to the city, 15 sen).

Time was when this temple and the still more ancient one of Ukumaza (which stands a short way to the E. of Saga and is said to date from 628) enjoyed the Imperial favor along with that of the people of the entire countryside, but their erstwhile glory has departed, and the latter fane is tottering to its fall. The Saga-no-Shaka-do is the best preserved of the two, and still enjoys considerable renown for a fine sculptured figure of Shaka, of sandalwood, with which a pretty

legend is associated. According to the temple chronicles the image was carved in India by a well-known sculptor, while Shaka was absent from his monastery. So great was the mourning of the people at the absence of their lord that the image shared it, and so overjoyed was it when Shaka returned that it descended the steps to meet him and the twain walked into the monastery together! A spirited painting, on the wall behind the main altar, depicts 13 almost life-size figures of sculptors (with strongly marked Chinese figures and characteristics) engaged in measuring, discussing, and chiseling the figure — which is said to have been brought hither from China about a.d. 987. An impressive ceremony accompanies its unveiling: the priest places candles and incense before the reliquary, kneels, claps two pieces of wood (higoshige) together until the neighborhood rings with the sound, and strikes a sonorous gong, the while chanting in a loud, clear voice his adoration of the saint. This endures for a full minute; then the curtain rises slowly and reveals gradually the sacred figure in all its graceful, womanly beauty. The chant and the accompanying music die away by degrees as the curtain closes softly over it. The shrine itself is templeshaped and strikingly handsome, with a profusion of goldlacquer enrichments and many compound brackets and polychrome decorations. At the right and left are large images of Monju and Fugen, and near them two dainty repositories. The brocade curtains and temple hangings generally bear the three asarum leaves of the Tokugawa crest. The carved tennin, dragons, the mystical Wheel of the Law, and the other symbols which adorn the interior recall those of the Nikko Mausolea. The Gods of the Four Directions which guard the shrine are (with other figures in the small repositories) ascribed to Kobo-Daishi.

Arashi-yama, a high hill in the W. outskirts (E, Pl. A, 2) near the Saga Station, is one of the most popular suburban resorts (electric tram-cars), and is romantically situated near a gorge down which plunges the brawling Hozu-gawa (that later flattens out on the plain and becomes the Katsura-gawa). The name, ‘Storm Mountain,’ was given it because the native artists delight to picture it beneath showers of slanting rain. The vegetation on its side is unusually varied, and in April when the cherry blooms are out, or in Nov. when the maples are in their prime, thousands foregather here to witness the lovely sight. Many of the cherry trees are very old and are descendants of others brought hither at the instance of the Emperor Kameyama (1260-74), from the celebrated Yoshino yama near Nara, the source of supply for the best trees in the Empire. Arashi-yama bears much the same relation to Kyoto that Mukojima in its prime did to Tokyo, excepting that the floral range is wider. A number of pretty cascades

enliven the region, and there are 1 Moon-gazing,’ ‘Emperorvisiting,' and other bridges, several famous restaurants, and. what-not.. Travelers in quest of mild adventure usually visit the place in connection with the shooting of

The Rapids of the Hozu-gawa. The narrow, shallow river (65 M. long) rises in the adjoining province of Tamba, and after meandering in a purposeless way across an upland plain begins its precipitous dash to lower levels near the small town of Hozu — whence its name. The usual custom is to proceed to Kameoka Station on the Sonobe Rly. (11 M. from Nijo Station, in 50 min.; fare, 48 sen; Rte. 29), thence walk (10 min. at the right) to the boat-landing at Hozu. Boats can be arranged for in advance by telephone (from the hotel) and will be in waiting. Prices vary, but the upward tendency is maintained. For a boat that will seat (chairs) 4-6 pers. ¥8 is ample. The downward glide to (13 M. Arashi-yama) is made in 1 1/2 hrs. with a fair current. When the water rises above a certain mark the boatmen refuse to go. The best season is in April, after the spring freshets, when the cherry blossoms are out, the hills begin to flame with the azaleas that glorify them in May, and a good volume of tawny water pounds against the rocks. — The boats are strong and flexible (30 ft. long, 6 wide, and 3 deep) and draw about 4 in. of water. The pliant bottom (a rigid one would be crushed) gives as it scrapes over the rocky bed and imparts an odd sensation of insecurity. Four athletic men work the sculls and yulo. At the Fudo Cataract, where the open stretch is about 300 ft. long and 25 wide, the boat sweeps forward at disconcerting speed, sometimes in a cloud of spray and accompanied by a terrific roaring. The many dangerous passes are made with safety and speed, as the men are trustworthy. It takes them about 5 hrs. to haul the boat back to Hozu, and unless this can be done in the afternoon they expect an extra fee. By planning the trip for the forenoon, one can inspect the Miyoshin-ji and other temples in its immediate neighborhood in the afternoon, on the trip back to Kyoto. The numerous small holes in the rocks just above the water-line of the river are made by the ends of the bamboo poles with which the boatmen keep the craft in midstream. A petty commerce is carried on in the vicinity of the river in the water-worn stones (for decorating landscape gardens) found in the river-bed.

Arashi-yama is one of the favorite haunts of the singular so-called Singing Frog (Polypedates buergeri, Schlegel, etc. — Jap. Kajika, or 'River Deer'; also Kajika-gaeru), a small, slender, darkish gray or brownish frog with obscure dark spots above (body-length of the male, 45 mm.; of the female, 70 mm.), much prized by the Japanese, many of whom will pay hundreds of yen for a specimen with a clear, bird-like note. They are usually kept in small cages containing a diminutive rockery and pool, that stand on the counters or show-cases of native stores. Flies, spiders, and the like constitute their food. When contented they often utter a sweet but piercing short whistle, like the sound made on a silver flute. The dark-green frogs sold to the unwary at 50 sen are of the common variety.

Excursions from Kyoto.

*Hiei-zan and Lake Biwa (Karasaki Pine; Miidera Temple). *Daigo-ji.

*Yawata Hachiman Shrine.

Over *Hiei-zan to Lake Biwa (E, Pl. C-D, 2). This is one of the best excursions in the immediate neighborhood, as it embraces numerous attractive features — a splendid panorama from the summit of the mt., an inspection of the Enryaku-ji Temples, of the Karasaki Pine Tree, a ride on the Lake, a visit to the Miidera Temples, and a return via the underground canal, or overland by electric car.

There are two popular ways of making it. The one described hereinbelow can, with the assistance of the tramways and cable lines, be made in 4§ or 5 hrs. The Walking Trip described on p. 499 will require the better part of a day. On the present trip a guide is unnecessary, as on any bright day one will have the company of numerous hikers, men, women, and children, along the entire route. Ever so often one comes to a little tea-house where one can get light refreshments. At Otsu, the turning point, the Miyako Hotel conducts a good restaurant in the fine old Town Hall, and the manager will telephone ahead to have something ready for the traveler. The stranger is recommended to get one of the excellent Maps of Kyoto and Environs (free) of the Miyako Hotel manager before starting.

Autos are available, but it will be found cheaper to board a tramcar at the Keage Station (near the entrance to the Miyako Hotel grounds), and (after one transfer) disembark at the terminus beyond the Kyoto University. Follow the main street leading left to (about 1/2 M.) the Demachi Bridge (over the Kamo River) and the Station of the tramline that runs to Yase, at the foot of the mountain.

Yase, terminus of the tramline and starting point of the cable line, is a gay little resort with artificial waterfalls, a wire suspension bridge, numerous pools (adored by the children for their paddling possibilities) and rushing streams. At the 1. of the cable station is a quaint restaurant (and Turkish bath) where big carp swim about in a pool and await being caught by patrons. The neighborhood is delightful in spring and summer, and is resorted to by thousands. The settlement is known as the Royal Village because the boys who officiate (as pages, bearers, etc.) at the Imperial functions are chosen from its inhabitants. The picturesque costumes of the women (special headdress, white leggins, etc.) are copies of those worn by their prototypes 300 years ago.

Yurakura, nearby, is known as the Insane Village because from time immemorial the inhabitants have followed the unique vocation of caring for the insane. It is said that almost every house has an insane boarder, and that the children of the village have inherited an understanding of the psychology of the insane, and know how to care for them.

The Cable Railway (the word cable is used) is about 1/2 M. long, extends upward at an angle of about 45 degrees, is strongly and solidly built, has staggered cars equipped with automatic electric grips that will stop and hold them instantly, and is regarded as perfectly safe. Two thick steel cables haul the cars up and down. Going up the best views are had from the rear seat. The short trip is like a brief airplane ride. While rising, and from the terminus, the panorama is stupendous. The monument down at the l. of the station esplanade commemorates Chigusa Ason, an 18th-century hero who immortalized his name by holding at bay 400 men and preventing their passing through a gap in the hills. One of the Kyoto reservoirs is seen in the near foreground. The entire city is spread out like a relief map, cut in twain by the silver ribbon of the Kamo-gawa. The highest mt. at the r. is Hira-san.

From the cable terminus to the top of Hiei-zan is 8 cho (about 1/2 M.), over a good road which is apt to be deep in mud in wet weather. Rubbers necessary. Coolies with kayos await non-walkers, and for a small fee will carry them to the summit. Men and women offer to push one up the broad (no dizzy places) road by placing a huge crutch against one’s back. The thousands of pine trees on the hill slopes were planted by the Red Cross. The wind (fu) which eternally sighs through them is poetically referred to as shofu (wind breathing through pines) because the sound is pleasant and restful.

The crest of the mt. is marked by numerous rest houses, some stone lanterns, seats, and a sculptured image (worn by time) of Denkyo Daishi (distinguished, with Kobo Daishi, as one of the most profound scholars that ever came to Japan). The views (see p. 500) are so awe-inspiring that they thrill one into silence.

Hence to the Kompon Chudo (Original Central Philosophical Hall) and the Dai-kodo (Great Lecture Hall, founded in a.d. 1150, repaired in 1025, see pages 501-3) is 1 M. (16 cho). The road leads down at the 1. through a pine forest and soon broadens into a charming forest lane between majestic cryptomerias overlooking steep ravines in the midst of a great solitude. Great bronze and stone lanterns face the entrance to the superb old Dai-kodo, which overlooks (in a ravine just below) the Kompon-chudo. If the traveler will strike (with the swinging wood beam) the great Dnikodd Bell, he will hear the same powerful tone ring and echo through the silent glades that called the devotees to prayer 775 years ago! Its resonant, commanding voice is splendid.

To the student of Buddhism it perchance may recall the fact that in the halcyon days of monkish power in this sequestered retreat the great Daikodd and Kompon-chudo were links in a chain of temples that stretched hence beyond the Miynko Hotel (a seetion of which is still one of the old temples) to Kyomizu-dera (p. 425). In all there were 3000 buildings, and the entrance to the vast enclosing compound stood where the Kyoto Zoological Garden now is. The property belonged to the Tendai Sect (which still predominates at Nikko); indubitably the most scientific and the most spiritually advanced of all the Buddhist shus in the Empire. The sect is sometimes referred to as the Unitarians of Buddhism. Then, as now, a Shinto Shrine stood in the enclosure of every Ruddhist Temple (tera).

Instead of following the main road referred to at p. 503, we turn sharp to the right at the Dai-kodo and walk along the gracefully curving, beautifully shaded, highroad to (about 1/4 M.) the next cable station (or Hiei-zan Tetsudo). Marvellous views of Lake Biwa and distant mountains unfold themselves as we advance. At the Cable Station (which also is called

the Chudo Eki) one begins the winding descent (about 3/4 M.; 11 minutes) through two tunnels and over several spidery bridges, to Sakamoto Station. A few minutes’ walk brings one to the tram-station, whence it is 4 M. (frequent trains) to Miidera. At Otsu, just beyond, one usually takes a traincar to the Keage Station (at Kyoto).

A Walking Trip over Hiei-zan.

See page 498A. A day should be devoted to this trip, and a lunch taken from the hotel, or arranged for at the Miyako Hotel restaurant in the Otsu Town Hall.

An English-speaking coolie from the hotel will be useful in pointing out the way, carrying wraps, etc. The road is easily followed and in most places is well traveled. The people one meets are courteous and friendly.

The shortest way is past the Kurodani Temple (Pl. E, 2) thence to Shirakawa Village. Here one turns to the right and follows the highroad into the hills.

The trip does not necessarily imply going right over the (2750 ft), grassy, basaltic hump of Hiei-zan, as the popular roadway winds up through a gulch on the near (S.) side, about 1 M. below Shimei-ga-take, the topmost ridge. The shrewd wind which often blows across the summit is sometimes uncomfortable; after Dec. 1, it is apt to be decidedly chilly. As the stiffish climb induces perspiration, wraps are necessary to prevent taking cold. Japanese regard the view as one of the most varied in Japan, since Biwa, the largest lake, Kyoto and Osaka, two of the largest cities, and a number of big mt. ranges are visible. The stone image looking out over Kyoto is Dengyo-Daishi. The name Shimei-ga-take means (in Chinese)

‘Blue Sky Mountain’ (or ‘4-points-of-the-compass place’) in poetical allusion to the light which pours into the mind from all sides when the Buddhistic truths are clearly understood. Hiei-zan is derived from Hi (comparison), ei (deep valley), and zan (mt.) and is ‘compared’ to the sacred mt. (of the Buddhists) in China called Ei-zan.

Shirakawa Village (so named from the small river running through it) is celebrated locally for stone lanterns (for temple grounds) chiseled from the excellent gray-and-black flecked granite (Shirakaiva-ishi) quarried from the schistous flanks of Hiei-zan. Almost every male inhabitant is a stonecutter, and every other house is a workshop whence the sound of chisel and hammer ring out almost ceaselessly. At the upper end (right) of the village street the brawling river turns a number of big undershot or overshot water-wheels and furnishes power for an equal number of primitive wire-factories. The deep ruts in the road are caused by the succession of mediaeval bullock-carts one meets, laden with great buckets of powdered stone employed as a glaze in the making of toki, or earthenware, in the Kyoto potteries. Lines of picturesquely clad women with great bundles of fagots on their heads are often met descending from the higher slopes. Pedestrians skirt the river for some distance; 35 min. beyond Shirakawa a path leads off from the main road and across (left), a little brook, then beneath a torii with some grouped stone images. Proceeding up this winding path between high hills one comes (in 50 min.) to a little terrace with a rest-heuse and a deserted

shrine, whence a magnificent view is had over a wide, deep, silent valley to a distant sky-line of rugged mts. Here the road bends round to the right. Visible beyond a deep gorge into which plunges a noisy brook is the giant bulk of Hieizan; the by-path which branches up at the left 20 min. beyond this point leads to the summit. The main road flanks the red shrine (left) and passes beneath the torii; 15 min. beyond this one comes to a fine gray granite torii, beyond which is a narrow ledge called Nanamagari (‘ seven-turns’) because at this point the road takes on a decidedly serpentine character.

The panorama spread out below is one of the most beguiling in the Empire; the eye embraces thousands of square miles of mt. and valley land sentineled by snow-crowned volcanoes and delimited by the jagged monarchs of many ranges. Near the center, 1500 ft. below, lies the poetic and placid Lake of Omi, beaded with a half-score microscopic towns and furrowed by tiny threads left by little steamers which at this great height look like toy boats afloat in an azure pool. If it be springtime, when the valley swoons beneath waves of sempiternal sunshine, and the wide and rich plains which flank the lake flame with a glory of yellow rape or lie clad in soft robes of many tints, the scene is one of indescribable beauty. At this season the sky which broods above it is usually a winsome, dimpling blue, quite Italian in its charm and color. Between the plain — which from here resembles a variegated board on a huge easel tilted up on one edge — and the hills which hold the lake fast locked in their green embrace, deep slashes mark the mt. sides, and from their emerald depths rise dense groves of great pines and firs and cryptomerias that look like vast plumes when viewed from above. Flecking this wide expanse of somber green are magnificent blotches of color formed by flowering mountain-cherry, wild sazankwa, perennially crimson maples, a veritable tangle of honeysuckle, and the host of flowers for which the Japanese hills are celebrated. The view is stupendous; the effect awe-inspiring, with a charm that will scarcely fade from the mind. From the extreme summit of Hiei-zan the vista is augmented by Kyoto, Osaka, and the country beyond, including the sea, all of which are here barred out by the ridge.

Hence onward the road winds to the left along the shoulder of the hill, now up, now down, and always over a terrace cut from the green slope. From the edge of this one looks down a thousand feet into impenetrable forest depths. In the autumn scores of momiji add dashes of yellow, scarlet, and russet to the all-pervading green. Later the half-bare spots are alive with blue-bloused peasants who stick like mt. goats to the steep declivities and garner their winter supply of brushwood. An inspiring walk of £ hr. brings one to another granite torii marking a terrace from which the view is so extensive

that it fatigues the mind. Here the road descends steeply (left) through a fine forest of somber firs to (15 min.) a deep, silent, majestic gorge and a quaint and romantically situated shrine to Benten; the image seated in a stone vault protected by a wire mesh and guarded by a granite torii is Fuku no kami san. The stone lanterns and Benten’s bronze biwa (harp) are pretty. The priest’s house stands at the right of the road; herein one may purchase modest refreshments, and while lingering to enjoy the weird charm of the sequestered glen hearken to the lonely man's chatter and learn the picturesque history of the spot.

The lake comes into view just beyond, and then one sees at the left, on a walled terrace tottering with age, the old, weather-beaten Fudo Myo-o, with fine views and an uninteresting interior. The road which descends past the foot of the wall (and the priest’s house below at the right) leads to (1 hr.) Sakamoto, on the lake shore. Mounting the stone steps on the near side (left) of the temple, we soon emerge on a winding mt. road which lays its silent, deserted length beneath wonderful old trees that remind one of Koya-san. From time to time the path leads past a tiny terrace whence a vast expanse of land and lake are visible; at a point 30 min. beyond the Fudd Myo-o a lateral path comes down (left) from the summit of Hiei-zan. Here the main road goes off at the right, beneath an avenue of lofty trees of many varieties, and past a group of moss-grown Buddhist tombs deserted in the silent forest and forgotten of the world. A walk of 20 min. brings one to the huge temples whose bronze-covered roofs are discernible through the trees beyond the deep gorge (through which the path goes) at the left. In the tiny settlement which clusters about them is a clean tea-house provided with a table where one may enjoy one’s luncheon under shelter, and piece it out with hot tea or bottled goods. The largest of the temples,

The Kompon Chudo, on a terrace down at the right, is a time-stained but still sturdy reminder of a period when hundreds of similar fanes are said to have covered the sides of Hiei-zan -and to have been so powerful as to constitute a menace to the civil power at Kyoto.

Historical Sketch of the Hiei-zan Monasteries. Five yrs. before the Emperor Kwammu founded Kyoto (in 794), the bonze SaiehO (b. 767; d. 822; from 866 known by the posthumous title of Denoyd-Daishi) erected a small temple on the summit of Hiei-zan (3 M. N.E. of Kyoto) and called it Enryaku-ji, from the era (of Enryaku — ■ 782-806) in which it was founded. He had but just returned from China whither he had gone to study the doctrines of the Tendai sect, which he now proceeded to diffuse from the new headquarters. In time the temple became a great monastery which was destined to bear * much the same relation to most of the later Beets established in Japan that the Church of Rome bears to the various forms of Protestantism. It was to be at once the common mother and the enemy of them all. Its earliest offshoot was the temple of Onjo-ji, more generally known as Miidera, picturesquely situated at the base of the hills

on Biwa strand, beside the city of Ouu. It was not long before it found

itself at deadly strife with the parent fane — a fine commentary upon the sincerity of the tonsured exponents of the religion whose central idea is the impermanency of all things and the vanity of human wishes.’ After Kyoto was founded Saicho's temple became of great importance to the new city, for as Buddhist superstition believes all evil comes from the N.E., the Ki-mon, or Devil’s Gate, the priests were ordered to watch night and day; to pray, beat the drums, ring the bells, and thus keep evil far away from the palace and the capital. All this they did, and more, for according to the records the grounds of the many temples were adorned and beautified with the rarest art of the native landscape gardeners. The thousands of priests congregated here ‘ chanted before gorgeous altars, celebrated their splendid ritual, reveled in luxury and licentiousness, drank their sake, ate the forbidden viands, and dallied with their concubines, or hatched plots to light or fan the flames of feudal war, so as to make the quarrels of the clans and chiefs redound to their aggrandizement. They trusted profoundly to their professedly sacred character to shield them from all danger,’

In the golden age of Buddhistic monasticism there were upon Hiei-zan many thousands of priests and monks, who often exercised great influence upon internal complications. They possessed great wealth, and landed estates which extended from the summit of the mt. to the present Kiyomizu-dera. The ground about the main temple was as classic as that about Koya-san. The powerful priests could make such a show of force that often when they went to Kyoto to make insolent requests of the harassed Emperor he sent out squads of soldiers to stop their approach to the Palace. The exasperated Emperor Shirakawa was wont to say of these truculent terrors: ‘There are three things which I cannot bring under obedience; the water of the Kamo-gawa, the dice of the sugoroku game (a sort of backgammon), and the bonzes on the mt.’ His predecessors had, by protecting the bonzes, abetted their arrogance, for in 961 when Ryogen (afterwards Jie-Daishi), the abbot of Hiei-zan, had a dispute with the head of the Gion Temple in Kyoto, he settled it by sending troops to drive out his opponent. His Eminence then proclaimed that it had become apparent that in that degenerate age the Law of Buddha had fallen into such contempt that it was hopeless to think of defending its interests by ghostly arms alone. Accordingly he mustered a number of stout fellows, had them thoroughly instructed in the handling of such carnal weapons as swords, bows, and spears, and established them as a permanent force in the service of the monastery. The example was speedily followed by the other great ecclesiastical foundations; and thus another cardinal source of unrest was added to the perplexities of the Central Gov’t. In 989 the Gov’t sent a messenger with a rescript appointing a certain priest to the abbacy of Hiei-zan. The priests seized the document, tore it to pieces, and drove the messenger off with contumely. The Gov’t did nothing and the bonzes triumphed. As time went on they waxed still more turbulent and audacious. In 1039, when dissatisfied with the Regent’s distribution of ecclesiastical preferment, they came down and besieged Fujiwara Yorimichi's mansion. The latter appealed to Taira Naokata, who promptly raised the siege, killed many of the priests, and lodged the ringleader in prison. This was the beginning of the long feud between the clergy and the military — and especially with the house of Taira.*

Oda Nobunaga was the first to strike a crippling blow at the degenerate priesthood. He had difficulties with the bonzes before 1570, but it was in that year that they began to evince a determined and organized hostility to him. Nobunaga gathered his forces, and the priests, seeing the handwriting on the wall, made their monastery-fortress as impregnable as possible and awaited the onslaught. Some of Nobunaga's councilors remonstrated against his avowed intention to crush the Enryaku-ji, and rebelled against the sacrilege of destroying one of the most celebrated seats of learning in Japan, with an unbroken history of nearly 700 yrs. But he informed them that so long as these monasteries existed his projects would be continually thwarted, as they were a prime source of the national disorder and anarchy he was trying so hard to suppress. 'If I do not take them away now, this great trouble will be everlasting. Moreover, these priests violate their vows: they eat fish and stinking vegetables, keep concubines, and never unroll the sacred books. How can they be vigilant against evil, or maintain the right?

Surround their dens and burn them, and suffer none within them to live!* In September he advanced with a strong army and took the bonzes by surprise. * Seeing that they were lost if they could not agree with the adversary at their gates, they offered Nobunaga a huge ransom, but in vain. Sakamoto, on the lake shore at the foot of the hill, was at once fired, and the assailants then stormed and burnt the monasteries on the lower slopes of Hiei-zan. The bonzes made a vigorous defense of some of the strong positions on the rocks and in the defiles. The final assault, delivered Sept. 29, 1571, ended in the extermination of every occupant of the hundreds of monasteries that had studded the faces of the mt. and its 13 valleys a week or so before. How many priests actually perished in this grim massacre cannot be stated with accuracy; at the lowest computation there must have been thousands of them.’ (Murdoch.) With the accession of the Tokugawa shoguns the bonzes were permitted to reestablish themselves on the heights, but the glory of Enryaku-ji never returned.

The great colonnade of the Kompon Chudo is now but a simulacrum of its former grandeur, and the wide inner court, of Alhambraic dignity and suggestiveness, is sadly neglected. The new tiled roof contrasts oddly with the weather-beaten carvings, and with the moss-grown flags and vermiculated timbers. — The Dai-Kodo, another milky reminder of Buddhistic supremacy in the Middle Ages of Japanese history, stands on a higher terrace back of the Chudo. Its massive superimposed roof and vast proportions are strangely impressive, and they call to mind the deserted palaces in the dense forests of Yucatan and the Mexican State of Chiapas. From the darksome, oppressively silent and melancholy interior a number of sculptured and gilded divinities gaze mournfully out to the green glades which hem the terrace in. The large panels of carved polychrome storks and other birds in high relief were doubtless beautiful in their prime. Even now they are worth looking at, as are also certain of the minor carvings and decorations. The colossal bell in the decaying campanario near the entrance to the wide atrium manifestly required the united strength of an army to drag it up the long steep avenue from Sakamoto. Despite its years its voice is sweet, and when its mournful notes boom and echo through the solemn forest, as if searching for the grandeur which once had its abode here, they stir the blood and haunt the memory.

A wide, steepish, beautifully shaded road in considerable disrepair leads down at the left under lofty trees to (2£ M.; 1 hr.) Kami (upper) Sakamoto, where a colossal granite torii marks the lower entrance. The descent beneath the great trees through which the wind sighs mournfully, and which have looked down upon so many thousands of zealous, plodding pilgrims, is delightful. Several crumbling and deserted wayside shrines recall the golden days of the vanished past. One at the left (10 min. walk from the temples) has a curious old green bronze slab rising in Chinese fashion from the back of an alert tortoise. The occasional vistas of the lake and of the villages on the lowlands near it are glorious. The last stretch along the wide and now fairly level avenue is flanked

on both sides by superb maple, cherry, and pine trees, with a view past these to the great torii and the lake beyond that is enchanting. At the village the road bends abruptly to the right and leads (30 min.) to a straight avenue (left) lined with long rows of pine and cherry trees — the latter a sight worth seeing in April (popular festival on the 12th, 13th, and 14th). A leisurely 15 min. stroll brings one to the pier (hatoba) of Shimo (lower) Sakamoto (2 M. along the lake shore from the upper town). The traveler may now follow the coast road on foot, or in a jinriki or a tram-car, to (1 1/2 M. — 15 min.) Karasaki, for a view of the pine tree there, or he can see this from the deck of the steamer (frequent service) when it stops there (a few hundred feet from the tree) on its way to Otsu. In this case a ticket (8 sen) should be bought to Miiderashita (where one disembarks). The view of the green mts. at the right as the little boat glides over the smooth surface of the lake is very pretty.

The Karasaki Pine Tree (Karasaki-no-matsu) stands on a walled esplanade (in Karasaki village, 5 M. N. of Otsu) near the steamer landing. Its 300 or more immense horizontal boughs, upheld by wood crutches or stone pillars, curve awkwardly, and at the top (25 ft. or more from the ground) tin and wood copings have been placed as a protection against the weather. These arms, some of which measure 200-odd ft. from point to point, reach out like those of a gigantic and repulsive spider and are almost bare of foliage. This weird and unhandsome specimen of a thousand-year old tree illustrates in a curious way the Japanese love for what is bizarre and unsymmetrical. They delight in its deformed figure and its unnatural and disproportionately long branches. That this monstrous growth, which has none of the nobility of the great Taxodium distichum of Santa Maria del Tule (in Oaxaca, Mexico), or the fine Banyan in the Botanical Garden at Calcutta, should be considered one of the notable sights in a country filled to overflowing with exquisite things is quite beyond the understanding of foreigners.

From Karasaki a 25 min. ride on the boat brings one to the Miiderashita landing at Hama-Otsu. Inn: Otsu Hotel (Hakkeikan), native style, ¥3 a day. The Miidera Temple (known also as Onjo-ji) stands in a fine grove on the hill-slope 10 min. walk straight up from the landing. The original structures, erected in 858 by the bonze Enchin, were destroyed along with their immediate successors by the fighting bonzes of the Enryaku-ji on Hiei-zan, who on several occasions fought the hired sohei of the Miidera (the present seat of the Jimon branch of the Tendai-shu), and burned their property. A few of the present edifices (14th on the list of temples sacred to Kwannon, see p. ccvi) date from about 1690. Travelers customarily visit the tottering old Shako-do to see (1 sen)

Benkei’s Ikon Pot (Benkei-no-shiru habe), a very old, rusted, and broken contraption (about 5 ft. wide and 3 deep) resembling a soap-boiler, and from which Yoshitsune’s devoted servitor (and popular hero) is supposed to have eaten his bean-soup — which may well be doubted. On a higher terrace, housed in a small shed (2 sen) is Benkei’s Bell (Benkei no tsurigane), a badly cracked affair which the erratic Benkei is said to have taken often to the top of Hiei-zan to ring during the night! The priests in charge of the two doubtful relics will recount a lot of balderdash to whosoever will pause to listen. More interesting is the fine old Miidera Bell (said to have been cast by Hidesato, a 10th-cent. hero), about which many legends cluster. Its strangely sweet, penetrating notes form one of the Eight (poetic) Attractions of the Lake of Omi, and when heard on a still summer night echoing far out over ' the water they make a vivid impression on the mind.

One has the choice of returning to Kyoto by a car of the Keishin Electric Tramway (time about 30 min.) or vid the underground Lake Biwa Canal (sosui) which passes through the hill on which the Miidera stands. Ticket-office across the road from the canal, 5 min. from the lake. The service depends somewhat upon the supply of passengers, but a regular boat usually leaves about every half-hour (fare, low; time about 1 hr.).

A special boat (seating about 12 pers.) can be hired for a price, but little will be gained by the transaction. The boats are long, narrow, and seatless, with matting upon which one squats on the deck, beneath a low roof. A seat in the triangle of the bow insures one a better view of the canal and prevents crowding. The first of the 3 tunnels (1 1/2 M.; 25 min.) is entered immediately and is followed by an open strip, then the 2d tunnel (330 ft.) and (5 min. later) the 3d (2800 ft.). Dim electric lights point the way through the dusky depths and many of the craft which loom out of the blackness ahead are lit by flaming torches. Hands should not be allowed to rest over the side, as the boats often scrape together. A man on each halloos a constant warning to approaching boats. Vertical shafts at intervals admit air and a feeble light. The landing is about 10 min. walk above the Miyako Hotel (near which the tramcars stop). The return trip on the boat takes about 2 hrs., as it must be pulled up (by means of a rope along the side of the canal) against the slight tide.

The primary object of the canal, which cost 1,500,000 yen and was constructed in the 5 yrs. between 1885 and 1890, was to connect Lake Biwa with Kyoto (and incidentally to provide electric power for that city), thence by means of the Kamo River, with Osaka and the sea. It was planned by Saburo Tanabe, is 7 1/2 M. long, has a gradient of about 1 in 20 and a drop of about 11 ft. — until it reaches the edge of the range above Kyoto whence the drop is 118 ft. At the latter point the sharp descent is overcome by a Ke-age (a "kick-up") 1820 ft. long, over which the boats are hauled on steel trucks attached to a wire cable running in grooved wheels and actu-

ated by electric power. The Kyoto municipality is part owner of the canal, and the traffic privilege is rented out. The canal which parallels the main one about 60 ft. to the N. supplies additional electrical energy for the lighting of the city. Their open banks are lined by cherry and maple trees; in June they are the favorite resort of fireflies, which come here in numbers almost as great as at Uji.

Lake Biwa (Biwa-ko), so named for its fancied resemblance to a biwa (a native 4 stringed lute); known also as the Lake of Omi (Omi no Kosui) because of its location in the heart of Omi Province, is the largest (36 M. from N.E. to S.W.; 12 M. wide, and approx. 300 ft. at its deepest point) of the Japanese sweet-water lakes, and the most interesting. It stands in Shiga Prefecture, about 328 ft. above the sea and is supposed to have been formed (in a single night) by a depression left by the great earthquake (b.c. 286) that caused the lordly Fujisan to rise to its present height. The long ridge of Hiei-zan, Hira-yama, and Ko-yama (the highest summits of the water-shed between the lake and the Kamo-gawa) flank it on the W. (and form the E. boundary of the Yamashiro Plain), while toward the E. Ibuki-yama (4330 ft.) — regarded by the ancient Japanese as the Devil's abode — rises grandly. The vast plain roundabout contains some of the richest soil in Japan. Numerous towns and villages flanked by well-cultivated fields extend around the lake; the land rising gradually in many places into wooded mts. which reflect their verdure in the glassy waters and recall certain of the lovely Swiss lakes. Near Katata, at the S.W., it narrows perceptibly, and after reaching an arm beneath the Seta-no-Karahashi, pours its waters into the Seta-gawa (which farther down is called the Uji-gawa, and later the Yodo-gawa). In addition to this outlet are the twin canals cut through the ridge that hold the waters back from Kyoto. The most important of the shore towns is Otsu, capital of Omi Province and Shiga Prefecture, with 40,000 inhabs.

Hikone, with its white castle on a hill overlooking the water, stands farther to the N.E. and is mentioned at p. 399. Beyond it is Nagahama, on the E. shore, noted for its exports of the fine white silk crape called Hama-chirimen (made in the rural districts of Sakata). At the village of Ze-ze, Kobori Masakuza erected a furnace in 1640 and began the manufacture of the well-known Ze-ze-yaki, one of the most popular of the wares of Omi Province. From Shigaraki, near the lake shore, clay for the making of faience is shipped to many parts of the Empire. A well-known ware called Seta-yaki is made at Seta. Chikubu-shima, an island not far from Nagahama, has a temple 30th in the list of places sacred to Kwannon, and is a breeding-place for cormorants and other fowl. Small coasting-boats start at frequent intervals from Otsu (and Seta) and make the circuit of the lake, stopping at the chief towns.

Lake Biwa is renowned for its beautiful scenery, while its

classic shores, rich in history and legend, form the themes of many writers. The famous Eight Views (Omi Hakkei, in imitation of those at Siao-Siang) are: The Evening Snow on Hira-yama; The Autumn Moon seen from Ishi-yama; A Bright Sky with a Breeze at Awazu; The Sunset Glow at Seta; The Evening Bell at Miidera; Rain by Night at Karasaki; The Boats Sailing back from Yabase; and The Wild Geese alighting at Katata. Of greater practical utility are the fish, valued at 2 million yen, that are taken each year from its waters. Crude, arrow-shaped traps made of bamboo and reeds are used in the shallows along the shore. Salmon-trout, eels, and the large gengoro-funa, a species of carp with a national reputation for size and flavor, are caught in quantities. The fish called Higai (for which the Japanese have no name, and the Chinese ideograph for which means both 'emperor' and 'fish') are found nowhere else. — The historic town of Ishi-yama (E, Pl. D, 3), with a faded temple sacred to Kwannon, is not far from the Seta Bridge, and is of but little interest. The room where the Genji Monogatari is thought to have been composed is still shown to visitors. The maple display is no finer than that of other places near Kyoto.

*Daigo-ji, or the Sambo-in (lit., "The three precious things," or Buddhist triad: Buddhism, Buddhist rites, and the priesthood), a monastery (of the Shingon sect) about 4 M. S.E. of Inari (E, Pl. C, 3), may be reached by train from Kyoto to the Yamashina Station, thence 1 M. on foot to Daigo-ji village (whence the temple takes its name); or by following the woods-road (good walking, in about 1 1/2 hrs.) leading behind the Miyako Hotel. One forenoon is ample for the trip, which in the spring or fall is one of the most delightful in the environs of the old capital. On alighting at Yamashina Station follow (right) the broad highway across the lowlands to the village, which is traversed its entire length. High bamboo groves flank the excellent pike beyond to the lovely hill-encircled valley in which the temple stands. The white wall with its five Imperial stripes borders the road at the left, and from it a broad and well-swept avenue leads up to the weather-beaten gate at the far end. The two great unwashed Dewa kings in the loggias are grimy with the dirt of centuries; the old belfry, the deserted pagoda, and the other structures standing neglected beneath the lofty trees are sad and silent reminders of vanished glory. Hideyoshi’s sometime famous tea pavilion stands far up the hill beyond the main gate, but access to it is barred by a fence across the path; the main temple with its office is behind the walled inclosure midway of the avenue.

Daigo-ji was founded in 902 by the bonze Shobo (Rigen-Daishi). The original structures, having been partly destroyed during the Onin war, were rebuilt by Toyotomi Hideyoshi in the

16th cent., from which period the inner garden dates. Some of the roughly hewn beams of the primitive building were preserved and used in the present one, and because of these and of certain ancient structural features (the low-railed balcony around the main edifice, the style of the priests’ apartments, and so on) it is regarded as the best specimen extant of the fine old Buddhist fanes of early times. At the zenith of its power and fame its magnificent art treasures, some of which now repose in the Kyoto and Tokyo Museums, were richer than those of any of the Kyoto temples. Those which remain are worth inspection, and if the traveler will write ahead so that the priests may have them ready for displaying, he will save time and be well paid for the pilgrimage hither. Small fee customary. The priests are very proud of the temple and its lineage. From the time that Dosei and Seiun, two sons of the Emperor Kameyama (1260-74) became its chief bonzes, the heads of the institution (one of the 13 in the Empire honored with the title of monzeki) have been princes. — The situation of the group of buildings, in the midst of a stately and impressively beautiful old park on the lower skirt of a range of noble hills, is admirable. The traveler who visits the spot in spring when the patriarchal cherry trees display their wealth of blooms, or in Nov. when the gorgeous maples are crimson with rage at the defiling touch of winter, will be entranced by the beauty of the scene. The great Hideyoshi used to grow rapturous and sentimental over the spectacle of the century-old sakuras blooming as exquisitely as they did when in their teens, and the native poets delight to picture him leaning against the classically correct balustrade overlooking the fine fish-pond, and striving to combine poetry with statesmanship while viewing the crescent moon above and the floral wonder below.

So careful are the priests to prevent further breaches being made in their remaining treasures, that the acolyte who conducts the traveler about is usually dogged by one or more spying bonzes. As one traverses the ‘nightingale’ floors of the outer corridor one gets beguiling views of the adorable little garden backed by lofty trees. But for the fact that the artist who laid it out transgressed the classical rule relating to the necessity of having the various bridges of different form, it would be considered the most perfect of its kind in the Kyoto neighborhood. — The screens in the first suite, showing landscapes and other views, are by Ishida Yutei; those which follow, by Kano Sanraku, differ but little from the conventional style adopted by him. The curious old wood screen and the ancient bronze bell among the relics in the adjacent rooms are of Korean origin and belonged to Hideyoshi. The palanquin was used by one of the early abbots. The excellent old folding screens, ornamented with Paulownia

imperialis crests on a gold ground, are by Ikoma Toju; the decorated cedar doors (one with a duplicate of the Wet Heron of the Nijo Palace) are from Hideyoshi’s Momo-yama Palace. The fusuma in an adjoining room, showing huge polychromatic peacocks with tails so wide that they spread to the surrounding panels, are by Kano Sanraku; those displaying Chinese figures are by Ko-Hogen. Both Yutei and Sanraku are represented by some wan and faded work of uneven quality in the next suite, where there is a very striking oldgold folding screen (by Kano Eitoku working in one of his best moods) with flights of jet-black crows across it — counterparts of the glossy rogues who caw so loudly in the tall cryptomerias of the outer park. The maple screens are by Yamaguchi Seki, better examples of whose work are the folding screens showing a Tosa cock and hen with long tails, and some fallow deer. From this suite one looks out upon another small garden, with a shallow pond that reaches under one of the buildings, and imparts a pretty effect. An old biwa and some minor relics are shown to the visitor before he passes on to the honden, which contains among other things a fine gilded image of Miroku-bosatsu (to whom the temple is dedicated) ascribed to the versatile Unkei. The seated wood figure at the right is Kobo-Daishi; that at the left Shobo, founder of the institution. Both are among the best examples' extant of the almost faultless work of Tankei — the talented son of Unkei. In the Zenjo-kwan (religious meditation room) there is a very curious black- and gold-lacquered reliquary shaped like an old-fashioned cupboard, containing an image of Jizo. The folding screens are adorned with the Ju-ni-ten — Indian gods of bizarre composition and coloring.

The *Yawata Hachiman Shrine (called also Iwashimizu Hachiman; and Hachiman-gu), on the low (300 ft.) summit of Otoko-yama (E, Pl. B, 4), at the Yawata Station of the Kyoto-Osaka electric car line (30 min. S.W. of Kyoto; fare, 28 sen round trip), is regarded as one of the most perfect architectural expressions of a Ryobu-Shinto shrine in the Empire, and is dedicated to the Emperor Ojin (God of War), the tutelar deity of Kyoto. It is known locally for its beautiful and commanding situation and for a gutter of pure yellow gold (kin no toyu) which extends across it. If possible one should plan to visit it early in Nov., when the maples are in their prime, as these add greatly to the peculiar beauty of the splendid panorama visible roundabout. Popular festivals are held (usually at midnight) from Jan. 15 to 20, and on Sept. 15, at which times devout pilgrims climb the winding road up the steep hill, the many lighted lanterns and torches making a curious spectacle as they glimmer in the darkness. (It may be merely a coincidence that the untutored Indians near Amecameca, Mexico, have from time immemorial practiced the same cus-

tom at the Sacro Monte; consult Terry's Mexico, p. 462.] — From the several stations near the Kamo-gawa the tram-car runs out through a district not distinguished for cleanliness, to the tawdry outskirts, where the Osaka Canal is crossed and recrossed. Between the Inari and Yodo Stations a wide stretch of half-submerged marsh is traversed to the mouth of the Katsura-gawa, opposite which is the ruin of the ancient Yodo Castle — a one-time Tokugawa stronghold. Many pear orchards dot the landscape. Yawata stands beyond the long steel bridge near where the Uji-gawa and the Kizu-gawa merge their waters and become the Yodo-gawa.

The Shofu-ken, a semi-foreign hotel, faces the station; rounding it one sees just ahead a colossal granite torii, the lowermost outpost of the shrine. The serpentine lotus-pond is lovely in Aug. when it flames with variegated flowers. The main road lays its broad length upward and around the hill, over hundreds of clean stone steps and through charming stretches overshadowed by lofty trees. The views out over the flat country are beguiling. A steady 20 min. climb brings one to the lower end of a long flagged lateral walk which terminates at the shrine. The old machine-gun here behind its shield is a relic of the Japan-Russia War. Lines of magnificent cryptomerias and camphor trees with moss-grown, lichen-covered stone lanterns beneath them, mark the approach, along which are many tiny shops where colored earthenware pigeons, and small bows and arrows (the latter made from a special bamboo grown in the neighborhood, and delicately feathered), are sold to pilgrims as souvenirs. Just within the gate, at the right, is a bizarre bronze horse half covered with a bronze blanket stamped with a gilded crest, and tied to a very realistic bamboo. The main edifice, which dates from the 16th cent, and is built after the style of shrines of the Fujiwara epoch, is strikingly picturesque, with a weather-beaten roof that is half tile, half thatch; and a porch under the eaves of which are many faded wood-carvings. The imperial kiku crest so much in evidence denotes royal patronage. Hundreds of fluttering, preening pigeons are fed in the courtyard because pigeons are supposed to have fed the young Hachiman when he was neglected by his warlike mother. Flowers of different colors are seen to have been grafted on the big sazankwa bush at the right of the entrance.

The temple proper stands on a wide plinth supported by a massive stone wall whose outer edge is surmounted by a vermilion colonnade flanked on the inner side by a partly open square. The maze of weather-stained, vari-tinted sculptures proclaim Buddhist associations. The famous golden gutter, about 3 ft. only of which is exposed, reposes within a sort of protective shell; according to the priests it is 3 ft. wide, 3 in. thick, and 78 ft. long. — At the rear of the compound, noted

for its lofty cryptomerias and camphor laurels, is an ancient storeroom (kura) that resembles Daniel Boone's cabin. — By leaving the inclosure through the gate at the right of the shrine, one descends over a zigzag path beautifully embowered in maple trees. From the terraces one gets enchanting views of the Yodo-gawa as it meanders across the wide Osaka plain below — flaming with yellow rape, or green with a gauzy mantle of young rice. Osaka is visible at the far S. The path strikes into the main one at the 2d torii. The trail at the left goes to a pretty waterfall. Kori-en, a park (chrysanthemum shows) much frequented by Osaka folks, is a 20 min. ride on the tramway.