Soon after leaving the yadoya we pa.s.sed through a wide street with the largest and handsomest houses I have yet seen on both sides.

They were all open in front; their highly-polished floors and pa.s.sages looked like still water; the kakemonos, or wall-pictures, on their side-walls were extremely beautiful; and their mats were very fine and white. There were large gardens at the back, with fountains and flowers, and streams, crossed by light stone bridges, sometimes flowed through the houses. From the signs I supposed them to be yadoyas, but on asking Ito why we had not put up at one of them, he replied that they were all kas.h.i.tsukeya, or tea-houses of disreputable character--a very sad fact. {8}

As we journeyed the country became prettier and prettier, rolling up to abrupt wooded hills with mountains in the clouds behind. The farming villages are comfortable and embowered in wood, and the richer farmers seclude their dwellings by closely-clipped hedges, or rather screens, two feet wide, and often twenty feet high. Tea grew near every house, and its leaves were being gathered and dried on mats. Signs of silk culture began to appear in shrubberies of mulberry trees, and white and sulphur yellow coc.o.o.ns were lying in the sun along the road in flat trays. Numbers of women sat in the fronts of the houses weaving cotton cloth fifteen inches wide, and cotton yarn, mostly imported from England, was being dyed in all the villages--the dye used being a native indigo, the Polygonum tinctorium. Old women were spinning, and young and old usually pursued their avocations with wise-looking babies tucked into the backs of their dresses, and peering cunningly over their shoulders.

Even little girls of seven and eight were playing at children's games with babies on their backs, and those who were too small to carry real ones had big dolls strapped on in similar fashion.

Innumerable villages, crowded houses, and babies in all, give one the impression of a very populous country.

As the day wore on in its brightness and glory the pictures became more varied and beautiful. Great snow-slashed mountains looked over the foothills, on whose steep sides the dark blue green of pine and cryptomeria was lighted up by the spring tints of deciduous trees. There were groves of cryptomeria on small hills crowned by Shinto shrines, approached by grand flights of stone stairs. The red gold of the harvest fields contrasted with the fresh green and exquisite leaf.a.ge of the hemp; rose and white azaleas lighted up the copse-woods; and when the broad road pa.s.sed into the colossal avenue of cryptomeria which overshadows the way to the sacred shrines of Nikko, and tremulous sunbeams and shadows flecked the gra.s.s, I felt that j.a.pan was beautiful, and that the mud flats of Yedo were only an ugly dream!

Two roads lead to Nikko. I avoided the one usually taken by Utsunomiya, and by doing so lost the most magnificent of the two avenues, which extends for nearly fifty miles along the great highway called the Oshiu-kaido. Along the Reiheishi-kaido, the road by which I came, it extends for thirty miles, and the two, broken frequently by villages, converge upon the village of Imaichi, eight miles from Nikko, where they unite, and only terminate at the entrance of the town. They are said to have been planted as an offering to the buried Shoguns by a man who was too poor to place a bronze lantern at their shrines. A grander monument could not have been devised, and they are probably the grandest things of their kind in the world. The avenue of the Reiheishi-kaido is a good carriage road with sloping banks eight feet high, covered with gra.s.s and ferns. At the top of these are the cryptomeria, then two gra.s.sy walks, and between these and the cultivation a screen of saplings and brushwood. A great many of the trees become two at four feet from the ground. Many of the stems are twenty-seven feet in girth; they do not diminish or branch till they have reached a height of from 50 to 60 feet, and the appearance of alt.i.tude is aided by the longitudinal splitting of the reddish coloured bark into strips about two inches wide.

The trees are pyramidal, and at a little distance resemble cedars.

There is a deep solemnity about this glorious avenue with its broad shade and dancing lights, and the rare glimpses of high mountains.

Instinct alone would tell one that it leads to something which must be grand and beautiful like itself. It is broken occasionally by small villages with big bells suspended between double poles; by wayside shrines with offerings of rags and flowers; by stone effigies of Buddha and his disciples, mostly defaced or overthrown, all wearing the same expression of beatified rest and indifference to mundane affairs; and by temples of lacquered wood falling to decay, whose bells sent their surpa.s.singly sweet tones far on the evening air.

Imaichi, where the two stately aisles unite, is a long uphill street, with a clear mountain stream enclosed in a stone channel, and crossed by hewn stone slabs running down the middle. In a room built over the stream, and commanding a view up and down the street, two policemen sat writing. It looks a dull place without much traffic, as if oppressed by the stateliness of the avenues below it and the shrines above it, but it has a quiet yadoya, where I had a good night's rest, although my canvas bed was nearly on the ground. We left early this morning in drizzling rain, and went straight up hill under the cryptomeria for eight miles. The vegetation is as profuse as one would expect in so damp and hot a summer climate, and from the prodigious rainfall of the mountains; every stone is covered with moss, and the road-sides are green with the Protococcus viridis and several species of Marchantia. We were among the foothills of the Nantaizan mountains at a height of 1000 feet, abrupt in their forms, wooded to their summits, and noisy with the dash and tumble of a thousand streams. The long street of Hachiishi, with its steep-roofed, deep-eaved houses, its warm colouring, and its steep roadway with steps at intervals, has a sort of Swiss picturesqueness as you enter it, as you must, on foot, while your kurumas are hauled and lifted up the steps; nor is the resemblance given by steep roofs, pines, and mountains patched with coniferae, altogether lost as you ascend the steep street, and see wood carvings and quaint baskets of wood and gra.s.s offered everywhere for sale. It is a truly dull, quaint street, and the people come out to stare at a foreigner as if foreigners had not become common events since 1870, when Sir H. and Lady Parkes, the first Europeans who were permitted to visit Nikko, took up their abode in the Imperial Hombo. It is a doll's street with small low houses, so finely matted, so exquisitely clean, so finically neat, so light and delicate, that even when I entered them without my boots I felt like a "bull in a china shop," as if my mere weight must smash through and destroy. The street is so painfully clean that I should no more think of walking over it in muddy boots than over a drawing-room carpet. It has a silent mountain look, and most of its shops sell specialties, lacquer work, boxes of sweetmeats made of black beans and sugar, all sorts of boxes, trays, cups, and stands, made of plain, polished wood, and more grotesque articles made from the roots of trees.

It was not part of my plan to stay at the beautiful yadoya which receives foreigners in Hachiishi, and I sent Ito half a mile farther with a note in j.a.panese to the owner of the house where I now am, while I sat on a rocky eminence at the top of the street, unmolested by anybody, looking over to the solemn groves upon the mountains, where the two greatest of the Shoguns "sleep in glory."

Below, the rushing Daiyagawa, swollen by the night's rain, thundered through a narrow gorge. Beyond, colossal flights of stone stairs stretch mysteriously away among cryptomeria groves, above which tower the Nikkosan mountains. Just where the torrent finds its impetuosity checked by two stone walls, it is spanned by a bridge, 84 feet long by 18 wide, of dull red lacquer, resting on two stone piers on either side, connected by two transverse stone beams. A welcome bit of colour it is amidst the ma.s.ses of dark greens and soft greys, though there is nothing imposing in its structure, and its interest consists in being the Mihashi, or Sacred Bridge, built in 1636, formerly open only to the Shoguns, the envoy of the Mikado, and to pilgrims twice a year. Both its gates are locked. Grand and lonely Nikko looks, the home of rain and mist. Kuruma roads end here, and if you wish to go any farther, you must either walk, ride, or be carried.

Ito was long away, and the coolies kept addressing me in j.a.panese, which made me feel helpless and solitary, and eventually they shouldered my baggage, and, descending a flight of steps, we crossed the river by the secular bridge, and shortly met my host, Kanaya, a very bright, pleasant-looking man, who bowed nearly to the earth. Terraced roads in every direction lead through cryptomerias to the shrines; and this one pa.s.ses many a stately enclosure, but leads away from the temples, and though it is the highway to Chiuzenjii, a place of popular pilgrimage, Yumoto, a place of popular resort, and several other villages, it is very rugged, and, having flights of stone steps at intervals, is only practicable for horses and pedestrians.

At the house, with the appearance of which I was at once delighted, I regretfully parted with my coolies, who had served me kindly and faithfully. They had paid me many little attentions, such as always beating the dust out of my dress, inflating my air-pillow, and bringing me flowers, and were always grateful when I walked up hills; and just now, after going for a frolic to the mountains, they called to wish me good-bye, bringing branches of azaleas. I.

L. B.

LETTER VII

A j.a.panese Idyll--Musical Stillness -My Rooms--Floral Decorations- -Kanaya and his Household--Table Equipments.

KANAYA'S, NIKKO, June 15.

I don't know what to write about my house. It is a j.a.panese idyll; there is nothing within or without which does not please the eye, and, after the din of yadoyas, its silence, musical with the dash of waters and the twitter of birds, is truly refreshing. It is a simple but irregular two-storied pavilion, standing on a stone- faced terrace approached by a flight of stone steps. The garden is well laid out, and, as peonies, irises, and azaleas are now in blossom, it is very bright. The mountain, with its lower part covered with red azaleas, rises just behind, and a stream which tumbles down it supplies the house with water, both cold and pure, and another, after forming a miniature cascade, pa.s.ses under the house and through a fish-pond with rocky islets into the river below. The grey village of Irimichi lies on the other side of the road, shut in with the rushing Daiya, and beyond it are high, broken hills, richly wooded, and slashed with ravines and waterfalls.

Kanaya's sister, a very sweet, refined-looking woman, met me at the door and divested me of my boots. The two verandahs are highly polished, so are the entrance and the stairs which lead to my room, and the mats are so fine and white that I almost fear to walk over them, even in my stockings. The polished stairs lead to a highly polished, broad verandah with a beautiful view, from which you enter one large room, which, being too large, was at once made into two. Four highly polished steps lead from this into an exquisite room at the back, which Ito occupies, and another polished staircase into the bath-house and garden. The whole front of my room is composed of shoji, which slide back during the day. The ceiling is of light wood crossed by bars of dark wood, and the posts which support it are of dark polished wood. The panels are of wrinkled sky-blue paper splashed with gold. At one end are two alcoves with floors of polished wood, called tokonoma. In one hangs a kakemono, or wall-picture, a painting of a blossoming branch of the cherry on white silk--a perfect piece of art, which in itself fills the room with freshness and beauty. The artist who painted it painted nothing but cherry blossoms, and fell in the rebellion. On a shelf in the other alcove is a very valuable cabinet with sliding doors, on which peonies are painted on a gold ground. A single spray of rose azalea in a pure white vase hanging on one of the polished posts, and a single iris in another, are the only decorations. The mats are very fine and white, but the only furniture is a folding screen with some suggestions of landscape in Indian ink. I almost wish that the rooms were a little less exquisite, for I am in constant dread of spilling the ink, indenting the mats, or tearing the paper windows. Downstairs there is a room equally beautiful, and a large s.p.a.ce where all the domestic avocations are carried on. There is a kura, or fire-proof storehouse, with a tiled roof, on the right of the house.

Kanaya leads the discords at the Shinto shrines; but his duties are few, and he is chiefly occupied in perpetually embellishing his house and garden. His mother, a venerable old lady, and his sister, the sweetest and most graceful j.a.panese woman but one that I have seen, live with him. She moves about the house like a floating fairy, and her voice has music in its tones. A half- witted servant-man and the sister's boy and girl complete the family. Kanaya is the chief man in the village, and is very intelligent and apparently well educated. He has divorced his wife, and his sister has practically divorced her husband. Of late, to help his income, he has let these charming rooms to foreigners who have brought letters to him, and he is very anxious to meet their views, while his good taste leads him to avoid Europeanising his beautiful home.

Supper came up on a zen, or small table six inches high, of old gold lacquer, with the rice in a gold lacquer bowl, and the teapot and cup were fine Kaga porcelain. For my two rooms, with rice and tea, I pay 2s. a day. Ito forages for me, and can occasionally get chickens at 10d. each, and a dish of trout for 6d., and eggs are always to be had for 1d. each. It is extremely interesting to live in a private house and to see the externalities, at least, of domestic life in a j.a.panese middle-cla.s.s home. I. L. B.

LETTER VIII

The Beauties of Nikko--The Burial of Iyeyasu--The Approach to the Great Shrines--The Yomei Gate--Gorgeous Decorations--Simplicity of the Mausoleum--The Shrine of Iyemitsu--Religious Art of j.a.pan and India--An Earthquake--Beauties of Wood-carving.

KANAYA'S, NIKKO, June 21.

I have been at Nikko for nine days, and am therefore ent.i.tled to use the word "Kek'ko!"

Nikko means "sunny splendour," and its beauties are celebrated in poetry and art all over j.a.pan. Mountains for a great part of the year clothed or patched with snow, piled in great ranges round Nantaizan, their monarch, worshipped as a G.o.d; forests of magnificent timber; ravines and pa.s.ses scarcely explored; dark green lakes sleeping in endless serenity; the deep abyss of Kegon, into which the waters of Chiuzenjii plunge from a height of 250 feet; the bright beauty of the falls of Kiri Furi, the loveliness of the gardens of Dainichido; the sombre grandeur of the pa.s.ses through which the Daiyagawa forces its way from the upper regions; a gorgeousness of azaleas and magnolias; and a luxuriousness of vegetation perhaps unequalled in j.a.pan, are only a few of the attractions which surround the shrines of the two greatest Shoguns.

To a glorious resting-place on the hill-slope of Hotoke Iwa, sacred since 767, when a Buddhist saint, called Shodo Shonin, visited it, and declared the old Shinto deity of the mountain to be only a manifestation of Buddha, Hidetada, the second Shogun of the Tokugawa dynasty, conveyed the corpse of his father, Iyeyasu, in 1617. It was a splendid burial. An Imperial envoy, a priest of the Mikado's family, court n.o.bles from Kivoto, and hundreds of daimiyos, captains, and n.o.bles of inferior rank, took part in the ceremony. An army of priests in rich robes during three days intoned a sacred cla.s.sic 10,000 times, and Iyeyasu was deified by a decree of the Mikado under a name signifying "light of the east, great incarnation of Buddha." The less important Shoguns of the line of Tokugawa are buried in Uyeno and Shiba, in Yedo. Since the restoration, and what may be called the disestablishment of Buddhism, the shrine of Iyeyasu has been shorn of all its glories of ritual and its magnificent Buddhist paraphernalia; the 200 priests who gave it splendour are scattered, and six Shinto priests alternately attend upon it as much for the purpose of selling tickets of admission as for any priestly duties.

All roads, bridges, and avenues here lead to these shrines, but the grand approach is by the Red Bridge, and up a broad road with steps at intervals and stone-faced embankments at each side, on the top of which are belts of cryptomeria. At the summit of this ascent is a fine granite torii, 27 feet 6 inches high, with columns 3 feet 6 inches in diameter, offered by the daimiyo of Chikuzen in 1618 from his own quarries. After this come 118 magnificent bronze lanterns on ma.s.sive stone pedestals, each of which is inscribed with the posthumous t.i.tle of Iyeyasu, the name of the giver, and a legend of the offering--all the gifts of daimiyo--a holy water cistern made of a solid block of granite, and covered by a roof resting on twenty square granite pillars, and a bronze bell, lantern, and candelabra of marvellous workmanship, offered by the kings of Corea and Liukiu. On the left is a five-storied paG.o.da, 104 feet high, richly carved in wood and as richly gilded and painted. The signs of the zodiac run round the lower story.

The grand entrance gate is at the top of a handsome flight of steps forty yards from the torii. A looped white curtain with the Mikado's crest in black, hangs partially over the gateway, in which, beautiful as it is, one does not care to linger, to examine the gilded amainu in niches, or the spirited carvings of tigers under the eaves, for the view of the first court overwhelms one by its magnificence and beauty. The whole style of the buildings, the arrangements, the art of every kind, the thought which inspires the whole, are exclusively j.a.panese, and the glimpse from the Ni-o gate is a revelation of a previously undreamed-of beauty, both in form and colour.

Round the neatly pebbled court, which is enclosed by a bright red timber wall, are three gorgeous buildings, which contain the treasures of the temple, a sumptuous stable for the three sacred Albino horses, which are kept for the use of the G.o.d, a magnificent granite cistern of holy water, fed from the Somendaki cascade, and a highly decorated building, in which a complete collection of Buddhist Scriptures is deposited. From this a flight of steps leads into a smaller court containing a bell-tower "of marvellous workmanship and ornamentation," a drum-tower, hardly less beautiful, a shrine, the candelabra, bell, and lantern mentioned before, and some very grand bronze lanterns.

From this court another flight of steps ascends to the Yomei gate, whose splendour I contemplated day after day with increasing astonishment. The white columns which support it have capitals formed of great red-throated heads of the mythical Kirin. Above the architrave is a projecting balcony which runs all round the gateway with a railing carried by dragons' heads. In the centre two white dragons fight eternally. Underneath, in high relief, there are groups of children playing, then a network of richly painted beams, and seven groups of Chinese sages. The high roof is supported by gilded dragons' heads with crimson throats. In the interior of the gateway there are side-niches painted white, which are lined with gracefully designed arabesques founded on the botan or peony. A piazza, whose outer walls of twenty-one compartments are enriched with magnificent carvings of birds, flowers, and trees, runs right and left, and encloses on three of its sides another court, the fourth side of which is a terminal stone wall built against the side of the hill. On the right are two decorated buildings, one of which contains a stage for the performance of the sacred dances, and the other an altar for the burning of cedar wood incense. On the left is a building for the reception of the three sacred cars which were used during festivals. To pa.s.s from court to court is to pa.s.s from splendour to splendour; one is almost glad to feel that this is the last, and that the strain on one's capacity for admiration is nearly over.

In the middle is the sacred enclosure, formed of gilded trellis- work with painted borders above and below, forming a square of which each side measures 150 feet, and which contains the haiden or chapel. Underneath the trellis work are groups of birds, with backgrounds of gra.s.s, very boldly carved in wood and richly gilded and painted. From the imposing entrance through a double avenue of cryptomeria, among courts, gates, temples, shrines, paG.o.das, colossal bells of bronze, and lanterns inlaid with gold, you pa.s.s through this final court bewildered by magnificence, through golden gates, into the dimness of a golden temple, and there is--simply a black lacquer table with a circular metal mirror upon it.

Within is a hall finely matted, 42 feet wide by 27 from front to back, with lofty apartments on each side, one for the Shogun and the other "for his Holiness the Abbot." Both, of course, are empty. The roof of the hall is panelled and richly frescoed. The Shogun's room contains some very fine fusuma, on which kirin (fabulous monsters) are depicted on a dead gold ground, and four oak panels, 8 feet by 6, finely carved, with the phoenix in low relief variously treated. In the Abbot's room there are similar panels adorned with hawks spiritedly executed. The only ecclesiastical ornament among the dim splendours of the chapel is the plain gold gohei. Steps at the back lead into a chapel paved with stone, with a fine panelled ceiling representing dragons on a dark blue ground. Beyond this some gilded doors lead into the princ.i.p.al chapel, containing four rooms which are not accessible; but if they correspond with the outside, which is of highly polished black lacquer relieved by gold, they must be severely magnificent.

But not in any one of these gorgeous shrines did Iyeyasu decree that his dust should rest. Re-entering the last court, it is necessary to leave the enclosures altogether by pa.s.sing through a covered gateway in the eastern piazza into a stone gallery, green with mosses and hepaticae. Within, wealth and art have created a fairyland of gold and colour; without, Nature, at her stateliest, has surrounded the great Shogun's tomb with a pomp of mournful splendour. A staircase of 240 stone steps leads to the top of the hill, where, above and behind all the stateliness of the shrines raised in his honour, the dust of Iyeyasu sleeps in an unadorned but Cyclopean tomb of stone and bronze, surmounted by a bronze urn.

In front is a stone table decorated with a bronze incense-burner, a vase with lotus blossoms and leaves in bra.s.s, and a bronze stork bearing a bronze candlestick in its mouth. A lofty stone wall, surmounted by a bal.u.s.trade, surrounds the simple but stately enclosure, and cryptomeria of large size growing up the back of the hill create perpetual twilight round it. Slant rays of sunshine alone pa.s.s through them, no flower blooms or bird sings, only silence and mournfulness surround the grave of the ablest and greatest man that j.a.pan has produced.

Impressed as I had been with the glorious workmanship in wood, bronze, and lacquer, I scarcely admired less the masonry of the vast retaining walls, the stone gallery, the staircase and its bal.u.s.trade, all put together without mortar or cement, and so accurately fitted that the joints are scarcely affected by the rain, damp, and aggressive vegetation of 260 years. The steps of the staircase are fine monoliths, and the coping at the side, the ma.s.sive bal.u.s.trade, and the heavy rail at the top, are cut out of solid blocks of stone from 10 to 18 feet in length. Nor is the workmanship of the great granite cistern for holy water less remarkable. It is so carefully adjusted on its bed that the water brought from a neighbouring cascade rises and pours over each edge in such carefully equalised columns that, as Mr. Satow says, "it seems to be a solid block of water rather than a piece of stone."

The temples of Iyemitsu are close to those of Iyeyasu, and though somewhat less magnificent are even more bewildering, as they are still in Buddhist hands, and are crowded with the G.o.ds of the Buddhist Pantheon and the splendid paraphernalia of Buddhist worship, in striking contrast to the simplicity of the lonely Shinto mirror in the midst of the blaze of gold and colour. In the grand entrance gate are gigantic Ni-o, the Buddhist Gog and Magog, vermilion coloured, and with draperies painted in imitation of flowered silk. A second pair, painted red and green, removed from Iyemitsu's temple, are in niches within the gate. A flight of steps leads to another gate, in whose gorgeous niches stand hideous monsters, in human form, representing the G.o.ds of wind and thunder.

Wind has crystal eyes and a half-jolly, half-demoniacal expression.

He is painted green, and carries a wind-bag on his back, a long sack tied at each end, with the ends brought over his shoulders and held in his hands. The G.o.d of thunder is painted red, with purple hair on end, and stands on clouds holding thunderbolts in his hand.

More steps, and another gate containing the Tenno, or G.o.ds of the four quarters, boldly carved and in strong action, with long eye- teeth, and at last the princ.i.p.al temple is reached. An old priest who took me over it on my first visit, on pa.s.sing the G.o.ds of wind and thunder said, "We used to believe in these things, but we don't now," and his manner in speaking of the other deities was rather contemptuous. He requested me, however, to take off my hat as well as my shoes at the door of the temple. Within there was a gorgeous shrine, and when an acolyte drew aside the curtain of cloth of gold the interior was equally imposing, containing Buddha and two other figures of gilded bra.s.s, seated cross-legged on lotus-flowers, with rows of petals several times repeated, and with that look of eternal repose on their faces which is reproduced in the commonest road-side images. In front of the shrine several candles were burning, the offerings of some people who were having prayers said for them, and the whole was lighted by two lamps burning low. On a step of the altar a much-contorted devil was crouching uneasily, for he was subjugated and, by a grim irony, made to carry a ma.s.sive incense-burner on his shoulders. In this temple there were more than a hundred idols standing in rows, many of them life-size, some of them trampling devils under their feet, but all hideous, partly from the bright greens, vermilions, and blues with which they are painted. Remarkable muscular development characterises all, and the figures or faces are all in vigorous action of some kind, generally grossly exaggerated.

While we were crossing the court there were two shocks of earthquake; all the golden wind-bells which fringe the roofs rang softly, and a number of priests ran into the temple and beat various kinds of drums for the s.p.a.ce of half an hour. Iyemitsu's tomb is reached by flights of steps on the right of the chapel. It is in the same style as Iyeyasu's, but the gates in front are of bronze, and are inscribed with large Sanskrit characters in bright bra.s.s. One of the most beautiful of the many views is from the uppermost gate of the temple. The sun shone on my second visit and brightened the spring tints of the trees on Hotoke Iwa, which was vignetted by a frame of dark cryptomeria.

Some of the buildings are roofed with sheet-copper, but most of them are tiled. Tiling, however, has been raised almost to the dignity of a fine art in j.a.pan. The tiles themselves are a coppery grey, with a suggestion of metallic l.u.s.tre about it. They are slightly concave, and the joints are covered by others quite convex, which come down like ma.s.sive tubes from the ridge pole, and terminate at the eaves with discs on which the Tokugawa badge is emblazoned in gold, as it is everywhere on these shrines where it would not be quite out of keeping. The roofs are so ma.s.sive that they require all the strength of the heavy carved timbers below, and, like all else, they gleam with gold, or that which simulates it.

The shrines are the most wonderful work of their kind in j.a.pan. In their stately setting of cryptomeria, few of which are less than 20 feet in girth at 3 feet from the ground, they take one prisoner by their beauty, in defiance of all rules of western art, and compel one to acknowledge the beauty of forms and combinations of colour hitherto unknown, and that lacquered wood is capable of lending itself to the expression of a very high idea in art. Gold has been used in profusion, and black, dull red, and white, with a breadth and lavishness quite unique. The bronze fret-work alone is a study, and the wood-carving needs weeks of earnest work for the mastery of its ideas and details. One screen or railing only has sixty panels, each 4 feet long, carved with marvellous boldness and depth in open work, representing peac.o.c.ks, pheasants, storks, lotuses, peonies, bamboos, and foliage. The fidelity to form and colour in the birds, and the reproduction of the glory of motion, could not be excelled.

Yet the flowers please me even better. Truly the artist has revelled in his work, and has carved and painted with joy. The lotus leaf retains its dewy bloom, the peony its shades of creamy white, the bamboo leaf still trembles on its graceful stem, in contrast to the rigid needles of the pine, and countless corollas, in all the perfect colouring of pa.s.sionate life, unfold themselves amidst the leaf.a.ge of the gorgeous tracery. These carvings are from 10 to 15 inches deep, and single feathers in the tails of the pheasants stand out fully 6 inches in front of peonies nearly as deep.

The details fade from my memory daily as I leave the shrines, and in their place are picturesque ma.s.ses of black and red lacquer and gold, gilded doors opening without noise, halls laid with matting so soft that not a footfall sounds, across whose twilight the sunbeams fall aslant on richly arabesqued walls and panels carved with birds and flowers, and on ceilings panelled and wrought with elaborate art, of inner shrines of gold, and golden lilies six feet high, and curtains of gold brocade, and incense fumes, and colossal bells and golden ridge poles; of the mythical fauna, kirin, dragon, and howo, of elephants, apes, and tigers, strangely mingled with flowers and trees, and golden tracery, and diaper work on a gold ground, and lacquer screens, and paG.o.das, and groves of bronze lanterns, and shaven priests in gold brocade, and Shinto attendants in black lacquer caps, and gleams of sunlit gold here and there, and simple monumental urns, and a mountain-side covered with a cryptomeria forest, with rose azaleas lighting up its solemn shade.

I. L. B.

LETTER IX

A j.a.panese Pack-Horse and Pack-Saddle--Yadoya and Attendant--A Native Watering-Place--The Sulphur Baths--A "Squeeze."

YASHIMAYA, YUMOTO, NIKKOZAN MOUNTAINS, June 22.