the origination of a new school. The works by Chinese authors mentioned above as placed parallel with the translations from Sanscrit, consisted of the productions of this school called Chi-kwan-hio or T'ien-t'ai-kiau. The common book of prayers, Ta-pei-ts'an, has the same origin. The object of this new school was to combine contemplation with image worship. While the regulations for kneeling and chanting by several persons in unison are most complicated and minute, the operators aim to fix their thoughts on certain objects of devotion. This system differs from Bodhidharma's school of pure mental abstraction, by adding to devotional thoughts the helps of the senses. The tawdry gaiety of the idols, the union of many persons under the direction of a time-keeper in kneeling and standing, mute thought and loud recitation, it was believed would have a highly useful influence, when combined with an intense effort after pure religious meditation. The union of these two elements was intended to be a great improvement on the previous methods. The first Buddhist worship had made no express provision for the meditative faculties, and it had in consequence degenerated into the driest of forms. The common ceremonial of the sect at the present time exemplifies it, exhibiting as it does postures devoid of all reverence and lifeless repetitions of foreign words destitute of all emotion. The founder of this new system, Chi-k'ai, lived at T'ien-t'ai in the latter half of the sixth century. It was not till after more than four centuries that the principal writings of the school he established were included among the standard books of Buddhism. The title by which he is known is T'ien-t'ai-chi-che. The ceremonial thus introduced still maintains its reputation, and is practised by those who wish to infuse a deeper feeling into the service of the religion than is aimed at by the every-day worshippers of Buddha.

These changing forms of Chinese Buddhism--and there are others that will subsequently be described--are facts