The richest temple at the Western hills near Peking is that called Tan-cho-si. It has a revenue of twelve thousand taels of silver a year. This is between three and four thousand pounds. In 1866 I arrived there one evening with some friends and slept in a guest room. At the evening service there were about forty priests performing. In addition to chanting they struck the wooden fish, clashed cymbals together, and had several other kinds of simple instruments. At the end of the service they all walked in single file round the hall twice behind the images. The reason why the three principal images in front of the great central door are placed with a space behind them is, that a procession behind may be practicable. It is also convenient to have a door there, and in front of the door an image or picture, which is, consequently, at the back of the three principal idols.

In a box given a century ago to this monastery by the emperor, and placed near the western wall of the large hall, is a snake two feet long. Beside it is a porcelain tray of fresh water. When a rap on the box is given by the attendant priest, the snake moves its tongue out about half an inch, vibrating it in token of reverence and

submission. It takes nothing but water. So the priest assured us. If we are to believe him, it had been there for two thousand years. The snake is not worshipped as a divinity, but rather represents the power of Buddha in charming and taming a savage nature. It was a snake with brown body and black spots, and its head was small. The power of Buddha keeps the animal in subjection. That is the theory. If the snake goes out of the box, as it does occasionally to take an airing, it returns to it as to its home.

We also saw a structure called the Leng-yen-tan. It has eight sides, and is used as an altar to represent in its carved ornaments the scenes of the Leng-yen-king. The central figure is what is called a Pratyeka Buddha. Round it on the eight sides are carved eight representatives of Shakyamuni. Above them are crowns of flowers. Singularly enough there are placed here six Portuguese sailors, with iron cuirasses and broad-brimmed hats, in European fashion. Each of them kneels on one knee, and holds up with both hands an offering to Buddha. They are small iron figures, made in the time of the Ming dynasty, and are called Si-yang-jen. This is the name by which the Portuguese are known in China.

There is behind the Leng-yen-t'an an altar for receiving new monks to the vows, that is, a Kiai-t'an, consisting of two stories. On the upper story or terrace are arranged chairs for the abbot and his assessors. The abbot sits on the central chair, and six monks on each side. The neophyte kneels with his face toward the "abbot" or fang-chang, from whom he is separated by a table. The rules are read by the abbot while the neophyte kneels.

T'an also belongs to the school of the "Vinaya" or Lu-men.