founded the monastery, building the main temple above the remains of the vanquished dragons. Upon each side of the fantastic altar-piece there is a carved design of lotus leaves several feet in width and height; at the feet of an immense image of the divine Buddha, golden and bejewelled, which graces the centre of the shrine, are several magnificent bronze bowls of vast size, weight, and antiquity. Blue and red silk-gauze draperies, serving the purpose of a screen, hang from the massive beams in the roof.
The figures seen in Korean temples are reproduced in Buddhist temples throughout Asia, the supreme and central form being that of Sakya-muni or Buddha. In the sculpture and artistic development of this, the central figure of their pantheon, there is little, if any, deviation from the conventional traditions of India, Siam, Thibet, and Mongolia. The sage is crouching on his knees with the souls of his feet turned upward to the face; the palms and fingers of his hands pressed together; the eyes are slightly oblique, and the lobes of the ears somewhat bulbous. The throne consists of the open calyx of a lotus flower, the symbol of eternity. The splendour of the figures in the Temple of the Tree of Buddha is noticeable; and the lustre of the heavy gilding gleams from about the altar into the dimness and uncertain light of the vast chamber like the rays of some spiritual fire. Devotional exercises never cease in this House of the Ever-Supreme Lord, the services and constant offering of prayer being taken in turn by the officiating priests. At these moments, when the lonely figure of the priest is seen pleading with the Ever-Supreme Lord, in his most sacred Temple and before his most sacred shrine, for the grace of forgiveness, the scene is one of the most extraordinary solemnity. As the chant rises and falls in
