terious creature threw a blue and green snake across the stream, not loosing the tips of their tails, which formed a rainbow-like bridge, and our saint was able to cross.

The Sacred Red Bridge now spans the river at this particular spot. The legends of Shodo Shonin, and of the still more famous Kobo Daishi, who appeared here a century later, lend an interest to the place.

Crossing the river, we ascend an avenue just opposite the Sacred Bridge. The dark green cryptomerias hardly allow a ray of sunlight to penetrate, and the darkness of the approach emphasizes the dazzle of colour of the temple buildings when the first glimpse of them is caught. At the top of the avenue we come to a large walled enclosure, the Mangwanji, in which a monastery, founded by Shodo Shonin, formerly stood.

The road skirts two sides of the enclosure, and on reaching the angle we enter the main avenue, which takes us through torii and elaborate gateways to the mausoleum of Ieyasu. Touches of scarlet and gold glitter in the morning sun at the far end of the perspective, closed in by the cryptomerias which intervene.

We ascend some broad steps farther on, pass under a great granite torii, and are then in full view of the Ni-omon, the Gate of the Two Kings. It stands on a raised terrace, which is approached by a broad stairway. The retaining wall of the terrace, with its stone balustrade and the imposing flight of steps, are well proportioned to the gateway, but all is dwarfed by the immense size of the crypto

merias which overshadow it. The main colouring of the woodwork is scarlet and gold, and, seen from a little distance, it is impressive as a gem in an expansive dark green setting. When the trees were only ornamental shrubs, the gateway and the buildings beyond would have been imposing from their size as well as from the elaborate carving and brilliant colouring; but they look small now until a figure stands near them to give the scale. What they may have lost one way is, however, amply compensated. The gemlike effect of the Nikko temples, overshadowed and backed up by the great cryptomerias, is perhaps their chief charm.

A bright red wall encloses the courtyard beyond the gateway. The three gorgeous buildings which stand here are merely storehouses; what the chief shrine must be like passes all imagination. My little knowledge of architecture and decoration is all at sea. After this scarlet wall nothing need surprise. The shadow from its wide coping and the high key of colour all around, however, puts it right, and no other colour would probably have done as well.

The next court, which is approached by another flight of steps, is more wonderful still. The quaint-shapen drumtower on the left, the handsome bell-tower on the right, the two huge bronze candelabra and the highly-wrought lantern from Korea, fill the spectator as much with wonder as with admiration.

A building with a comparatively modest exterior stands on the extreme left of this platform. It was erected in

memory of Yakushi, the Buddhist patron saint of Ieyasu. On entering, we find that the interior eclipses anything which we have so far seen. All that the art of the period was able to produce is seen here to perfection.

The mausoleum of the great Shogun being now the property of the State, the temple furniture which pertains to the Buddhist cult has in many places been removed; but in this shrine, specially dedicated to Yakushi, the wishes of its founder have been respected. The statues of the four Heavenly Kings stand in pairs on each side of the altarterrific beings brandishing weapons and stamping demons underfoot. The twelve followers of Yakushi are to the right and left of the Shi-Tenno, as the four Kings are called. Where there is so much gold and brilliant colouring in the decoration of the wall spaces, it is surprising to find a subdued colour in the ceiling; a dragon painted in sepia wriggles and twists over the whole of it. It is the work of one of the Kano, and the wonderful draughtsmanship compensates for the lack of colour.

On leaving this temple, it is a relief to rest one's eyes on the sober grandeur of the cryptomerias which overtop all the buildings.

The north wall of the court is decorated with large panels of marvellous high-relief wood-carving. Birds Auttering among foliage or sprays of blossom feeding their young, or spreading out their plumage, are the chief subjects. The Japanese pheasant is most in evidence, doubtless on account of its beautiful colour, for all this elaborate