There had been a storm of rain, and we were invited by a friendly priest to go and see the foaming and dashing water near the great gate of the monastery. The bed of the stream is steep, and filled with large stones. The water coming down the mountain after a storm rushes

madly over boulders and gravel to the bridge, and is shown to every visitor.

Near this spot is a small temple in honour of Pratyeka Buddha. The temple is called An-lo-yen-sheu-tang. The terrace on which is placed the image of Pratyeka Buddha is supported by four protectors of the law of Buddha. These four personages were once in a robber band of five hundred men, and they lived at that time for nothing but crime. They were subdued to virtue by the teaching of Buddha. In gratitude for the enlightenment they received, they offered to carry Buddha henceforth on their shoulders.

The Pratyeka Buddha wears the skull-cap of the ordinary Buddha. It is supposed to be the form assumed by the hair after several years of ascetic retirement in mountain solitudes.

At Pi-yun si, a temple twelve miles west of Peking, there is a hall of five hundred Lo-hans. The building is a large square, and contains six galleries. It is entered from the north. The first figure met by the visitor is Maitreya. He faces the door. Beyond and behind him is the central north and south gallery. On each side of it, as of the other five galleries, are seated full-sized figures of Lo-hans. They are of clay and seated on a stone terrace two feet in height. To the right and left are parallel galleries. Four small courts in the centres of the four quarters of the large square give light by continuous rows of paper windows to the galleries. On a beam overhead, near the entrance, is a small figure, the five hundred and first, which was placed there as a supplementary image. The story is that this Lo-han came too late, the places were all filled, and, therefore, he was accommodated with a seat in the roof.

In another court are representations of the future state. Mountain scenery, clouds, bridges, lakes, as well as men and other living beings, are represented in clay. The five principal Bodhisattwas preside, and especially Ti-tsang. Good Buddhists are seen crossing a bridge with happy

faces. Bad men are pushed by demons into a place of torture below. Various cruel punishments are represented. Everything is in carefully moulded and coloured clay. Kwan-yin is associated with Ti-tsang in presiding in the side halls. Along with the three other divinities, Wen-shu, P'u-hien, and Ta-shi-chi, they preside with equal honour in the centre hall. On the coloured rock-work, the tortures of the wicked and the happiness of the good are mixed, to indicate the results of Buddhist teaching as imparted by the five divine instructors.