東京

ROUTE 4. TŌKYŌ. Tōkyō, also called Tōkei, formerly Yedo. Hotels.—Imperial Hotel and Tōkyō Hotel, both centrally situated; Club Hotel, in Tsukiji; Seiyōken, near the Shimbashi terminus, with branch in Ueno Park. Japanese Inns.—Fushimi-ya, in Koku-chō; Higuchi-ya, in Shirokane-chō; Karimame-ya, in Bakuro-chō,—all in the Nihon-bashi district. Restaurants.—(Foreign food) Fūgetsu-dō, near Shimbashi, with confectionery shop; Sanyen-tei, in Shiba Park; Fujimi-ken, not far from the British Legation; Mikawa-ya, in Kanda.—(Japanese food) Yaozen, at San-ya, Asakusa; Yaomatsu, at Mukōjima; Hirasei, in Fukagawa; Tokiwa-ya, in Yagenbori.

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Tea-houses (for entertainments in Japanese style).—Nakamura-rō, at Ryōgoku; Ibumura-rō, at Asakusa; Ō-un-tei, in Ueno Park. Club.—The Tōkyō Club, occupying a portion of the Rokumei-kwan, 5 min. from Shimbashi terminus. Foreign Legations.—Austro-Hungary, 15, Kami Nibanchō; France, 1, Iida-machi Itchōme; Germany, 14, Nagata-chō; Great Britain, 1, Kōjimachi Gobanchō; Holland (Denmark and Norway), 3, Shiba Sakae-chō; Italy, 4, Sannen-chō; Russia, 1, Ura-Kasumi-ga-seki; United States, 1, Akasaka Enoki-saka. General Post Office.—At Yedobashi. Central Telegraph Office.—In Kobiki-chō, near the Shimbashi terminus. Sub-offices in various districts of the city. Telephone Exchange.—In No.

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1 Eirakuchō Nichōme, with fifteen Call Offices in the city. Parks.—Shiba, Ueno, and Asakusa.

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Museums.—The Hakubutsu-kwan, in Ueno Park; Educational Museum, in the Seidō at Hongō; Museum of Arms, in the grounds of the Shōkonsha temple at Kōjimachi. Public Library.—The Toshō-kwan, in Ueno Park. Churches.—Church of England, in Shiba Sakae-chō; American Episcopal, Union Church (Protestant), Roman Catholic, all in Tsukiji; Central Tabernacle, in Hongō; Russian Orthodox, at Suruga-dai. Theatres.—Kabuki-za, in Kobiki-chō; Shintomi-za, in Tsukiji; Nakamura-za, in Asakusa. Wrestling.—At Ekō-in, in Honjō, twice yearly for ten days in winter and spring. Also at other times and places not fixed. Bazaars (Kwankōba).—In Shiba Park, and smaller ones in the Ginza.

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A Railway, officially styled the “Tōkyō and Akabane Junction,” but generally known as the Suburban or Circular Railway, affords an easy means of reaching certain points on the outskirts of the city. The following is a schedule of the stations:— From Shimbashi to Shinagawa, 3¾ m.; Meguro, 5 m.; Shibuya, 7¼ m.; Shinjuku Junction, 9¾ m. (change for Hachiōji Branch); Mejiro, 11¾ m.; Itabashi, 13¾ m.; Akabane Junction, 16¼ m. (change for the North). Conveyances.—Jinrikishas are in universal use. Tramcars, not much patronised by Europeans, run from the Shimbashi terminus along the principal thoroughfare to Ueno and Asakusa. Omnibuses are becoming numerous. Parties may find it advantageous to engage a whole one.

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Livery stables.—Kawanishi at Monzeki-mae in Tsukiji; Nishikaji at Nishiki-chō, Kanda, Itchōme. Steam Communication.—The company called the Tōkyō Wan Kisen-Kwaisha runs steamers to Uraga in the Misaki peninsula, and to Kanaya, Kachiyama, Hōjō, Tateyama, etc., on the other side of Tōkyō Bay. Twice daily, viz., 7 a.m. and 8 a.m., taking 7 hrs. to reach Tateyama. 2. The same company runs steamers to Yawata and other small ports at the head of the Bay, and to Kisarazu. Daily at 8 a.m., taking 4 hrs. to reach Kisarazu. 3. Also to Atami and Ajiro, sometimes continuing on to Shimoda in the province of Izu. Sailings irregular. Time, 8 hrs. to Ajiro. All the steamers of the above company start from Reigan-jima.

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The Tsu-un Kwaisha runs steamers on the Tonegawa, of which 4. Those of the Shimo-Tone, or Lower Tonegawa line, run to Chōshi, Ōfunatsu, and Hokoda, touching at various minor places on the river. Daily at 7 p.m. 5. Those of the Kami-Tone, or Upper Tonegawa line, run to Gyōtoku, Ichikawa, Matsudo, Shinkawa, Sekiyado, Kurihashi, Koga, and minor points higher up. Daily at 3 p.m. Time, 14 hrs. to Koga. The steamers of the Tsu-un Kwaisha start from Ryōgoku-bashi. The local steamers are but little used by foreigners and by the better class of Japanese, as they are small and make scant pretension to comfort.

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There is not even always a distinction of classes, though it is sometimes possible to secure a separate room by paying the price of five tickets. The fares are extremely low. The following are some of the

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chief shops at which articles likely to interest the tourist are sold:— Porcelain.—Kawamoto, dealer in Owari ware, at No. 6, Ginza Nichōme; Imari, at Kanda Imagawa-bashi, and Takahashi, at Nihon-bashi Tomijima-chō, for various kinds of ware. Lacquer.—Saitō Masakichi, at No. 12, Ginza Nichōme; Nakamura Kinosuke, at Kyōbashi Owari-chō Nichōme. Both the above deal in gold lacquer, while the two following sell various other kinds, provincial specialties, etc.: Kuroe-ya, at Tōri Itchōme; Suruga-ya, in Bakuro-chō. Bronze.—Miyao, at No. 1, Nihon-bashi Hon-Shirokane-chō (large things); Mikawa-ya, at Soto-Kanda Hatago-chō Itchōme (chiefly small things). Cloisonné.—Namikawa, at No. 8, Nihon-bashi Shin-emon-chō.

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Swords.—Murata Kimbei, at Nihon-bashi Kawasekoku-chō (also sells other curios). Ivory.—Wakatake, at No. 6, Nihon-bashi Hisamatsu-chō; Sawadaya, at No. 8, Ryōgoku Yonezawa-chō Nichōme. Paper and Fans.—Haibara, at No. 1, Nihon-bashi Tōri Itchōme. Old Silk and Damask.—Iwamoto Denshichi, at No. 16, Nihon-bashi Kawasekoku-chō; Morita, at No. 8, Nihon-bashi Sanai-chō. Curios in General.—Daizen, in Naka-dōri (chiefly for expensive articles); Ōsaka-ya, at No. 20, Nihon-bashi Aomono-chō; Ebi-ya, at No. 5, Nihon-bashi Jikken-dana (specialty, old lacquer); Handa-ya, at No. 5, Nihon-bashi Honkoku-chō Itchōme.

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Silk Mercers.—Daimaru, in Hatago-chō; Echigo-ya, in Muro-machi; Shiroki, in Tōri Itchōme; Mizushima (also sells European articles for presents), in Honchō Itchōme,—all in the Nihon-bashi district. There is also a very interesting street called Naka-dōri, running parallel to the main thoroughfare between Kyōbashi and Nihon-bashi, full of shops where old curios and brocade are exposed for sale. The best Bazaars (Kwankōba), where new articles of everyday use may be bought, are those in Shiba Park, Ginza (Marujū no Kwankōba), at Kanda Ogawa-machi, and at Kudanzaka-shita. Chief Popular Festivals. Date; name of festival; where held. Monthly, 5th: Suiten-gū, Kakigara-chō. Monthly, 10th: Kompira, Tora-no-mon.

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Monthly, 17-18th: Kwannon, Asakusa. Monthly, 21st: Daishi, Kawasaki. Monthly, 24th: Atago Jinja, Atagoshita. First Day of the Hare (hatsu-u): Myōkendō, Yanagi-shima. April 17th: Tōshōgū, Shiba and Ueno Parks. April 18th: Sanja Matsuri, Asakusa. May 6-8th: Shōkonsha (races, etc.), Kudan. June 3rd: Kumano Jinja, Iigura and Aoyama. June 3-14th: Tennō Matsuri, Shinagawa, Yotsuya, Asakusa, Senju. Mid-July: Kawa-biraki (Opening of the River), Ryōgoku. July 7-14th: Tennō Matsuri, Nakabashi. July 15th: Sannō, Nagata-chō.

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Chief Popular Festivals, continued. July 15th: Hikawa Jinja, Akasaka. July 15th: Hachiman, Nagata-chō. September 11-20th: Shimmei Matsuri, Shiba. September 13th: Ushijima no Jinja, Mukōjima. September 14-15th: Kanda Myōjin, Kanda. October 12-13th: O Eshiki (Anniversary of Nichiren's death), Ikegami and Hori-no-uchi. October 15th: Kanda Myōjin, Kanda. November 6-8th: Shōkonsha (races, etc.), Kudan. November 22-28th: O Kō Mairi, Monzeki temple at Asakusa. November, on Days of the Bird (tori no hi): Tori no machi, Asakusa. Akin to the popular festivals (matsuri) are the following fairs (ichi), held at the close of the year for the citizens to make seasonable purchases:— December 13th: Tennō Sama, Shinagawa.

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December 15th: Hachiman, Fukagawa. December 17-19th: Kwannon, Asakusa. December 20-21st: Kanda Myōjin, Kanda. December 22-23rd: Shimmei, Shiba. December 23-24th: Atago, Atagoshita. December 25th: Tenjin, Hirakawa. December 27-28th: Fudō, Yagen-bori. Flowers. Plum-blossoms.—The Kameido Ume-yashiki and the Kamata Ume-yashiki near Kawasaki, at end of January and beginning of February. Cherry-blossoms.—Ueno, Mukōjima, and Shiba, early in April; Koganei, middle of April. Peonies.—Florists' gardens at Somei, end of April; Shokwa-en in Azabu, beginning of May. Wistarias.—Kameido, first week in May. Azaleas.—Florists' gardens at Ōkubo-mura, early in May. Irises.—Horikiri beyond Mukōjima, early in June.

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Convolvuli.—Florist's gardens at Iriya in Shitaya, end of July and beginning of August. Lotus-flowers.—Lake Shinobazu at Ueno and the Castle moats, beginning of August. Chrysanthemums.—Dango-zaka and Asakusa, beginning of November. Maples.—Kaianji at Shinagawa, beginning of November; Ōji, middle of November. Principal Places Worth Visiting.—Shiba and Ueno Parks (Tombs of the Tokugawa Shōguns in both, the former most easily accessible), Temple of Kwannon at Asakusa, Hakubutsu-kwan Museum at Ueno, the Kwankōba Bazaar in Shiba, Atago Tower for view of the city. Drive along the main street (Ginza) to Nihon-bashi and round the inner moat. Time to Chief Points by jinrikisha with two men.

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From Shimbashi terminus to: Imperial Hotel, 5 min.; Tōkyō Hotel, 7 min.; Club Hotel, 12 min.; Rokumei-kwan, 5 min.; British Legation, 18 min.; American Legation, 10 min.; Shiba Park, 10 min.; Ueno Park, 35 min.; Asakusa (Kwannon), 40 min.

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History and Topography.—Previous to its becoming the military capital of Japan in the year 1590, Yedo was little more than a rude fortress surrounded by a few scattered villages. This fortress was founded in 1456 by a certain Ōta Dōkwan. From 1486 to 1524, it was held by vassals of the Uesugi family, but in the latter year was taken from them by Hōjō Ujitsuna, who was then rising to be ruler of the Eastern provinces, and had his capital at Odawara, close to the foot of the Hakone pass. In the 13th century, the district now called Asakusa stood on the sea-shore, at the mouth of a considerable inlet.

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The name Yedo means ‘Estuary Gate.’ At the time Ieyasu took possession in 1590, the coast on the E. side of the river had advanced greatly below Asakusa; but large lagoons still occupied areas which have since been filled up and built over. Ōta Dōkwan’s fortress occupied a portion of the ground which was later included in the Palace of the Shōguns and now in that of His Majesty the Emperor. The Shōgun’s Palace, or Castle as it was often called, was several times burnt down and rebuilt, and was totally destroyed by a fire which took place on the 17th July, 1863.

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A separate building in the enclosure which had been the residence of the heir-apparent to the Shōgunate, was appropriated for the Emperor’s use after the removal of H. M. to Tōkyō in 1868. But this too, was burnt down on the night of the 5th May, 1873. From that time forward the Emperor occupied the Palace at Aoyama, now inhabited by the Crown Prince, until the construction on the old site in 1889 of a new Palace, semi-Japanese and semi-foreign in style. Yedo has been repeatedly visited by destructive fires. In 1601 the whole city was laid in ashes. At that time all the houses were thatched with grass, the use of tiles not having been allowed to the citizens till the middle of the 17th century.

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Great fires occurred in 1657 and again in 1668. The greatest conflagration in more modern times took place in 1845. In 1603 a large part of the hill now called Suruga Dai was cut away, and the soil used to fill up four square miles of shallow inlets on the S. side of the town. The same year witnessed the construction of the great bridge, Nihon-bashi, from which distances have since been measured along the chief roads of the Empire. In 1642, a regulation was made whereby the Daimyōs were obliged to reside alternately in Yedo and on their domains for certain fixed periods.

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A map dated 1632 shows that the greater part of what now forms the Kyōbashi district, including Tsukiji, was reclaimed from the sea subsequent to that date. Up to about the year 1650, the townspeople depended for their water supply on the stream from Kanda-yama and the lake of Tame-ike; but shortly afterwards an aqueduct was constructed on the N. side to bring water from the I-no-kashira, Zempukuji, and Myōshō-ji lakes, as well as from the Tamagawa into the city. In 1653, the Tamagawa aqueduct, which enters the city by way of Yotsuya, was constructed, its length being about 27 miles.

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In 1660, the first theatre was built in Kobiki-chō by one Morita Kan-ya, whose name has been borne by successive generations of impresari. The history of the city for the most part consists of a succession of earthquakes, fires, typhoons, epidemics, floods, and droughts. The year 1703 was marked by a great earthquake; it is said that on this occasion the deaths in Yedo alone were 37,000. An epidemic which raged in 1773 is stated to have carried off 190,000 persons, chiefly of the lower classes. On the 11th November, 1855, the last great earthquake occurred, when the loss of life was computed at 100,000 persons. But recent investigations have shown that this was a gross exaggeration.

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On the 13th September, 1868, the designation of the city was changed to Tōkyō or Tōkei, either being a correct way of pronouncing the two Chinese characters 東京 which are used in writing the name, the signification of which is ‘Eastern Capital,’ given in contradistinction to Saikyō, 西京, or ‘Western Capital,’ applied at the same time to Kyōto. In November of the same year the Mikado visited Tōkyō for the first time, and it became the recognised seat of Government on the 26th March, 1869. A great change has since taken place in the outward appearance of the city. Most of the yashiki, or mansions of the territorial nobility, have been pulled down to make room for new buildings better adapted to modern needs.

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At the same time, the disappearance of the two-sworded men, the supersession of the palanquin (kago) by the jinrikisha, the very general adoption of foreign dress, and the European style of dressing the hair which is now almost universal among the men, have robbed the streets of the picturesqueness formerly so attractive to the foreign visitor. The construction of buildings in European style dates from about 1872. Tōkyō was thrown open to foreign travel in 1869, but not to foreign residence. Tsukiji, the foreign concession (Kyoryū-chi), is still the only quarter in which foreigners can hold land. The city is divided for administrative purposes into fifteen districts (Ku), viz.:—1, Kōji-machi. 2, Kanda.

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3, Nihon-bashi. 4, Kyōbashi. 5, Shiba. 6, Azabu. 7, Akasaka. 8, Yotsuya. 9, Ushigome. 10, Koishikawa. 11, Hongō. 12, Shitaya. 13, Asakusa. 14, Honjō. 15, Fukagawa. The principal suburbs are Shinagawa S., on the Tōkaidō; Naitō Shinjuku W., on the Chichibu road; Itabashi N.W., on the Nakasendō; and Senju N.E., on the Ōshū Kaidō. Tōkyō is popularly estimated to cover an area of four ri in every direction, in

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other words, a hundred square miles. The population is officially stated to be, in round numbers, 1,389,000, but this includes the whole metropolitan district (Tōkyō Fu). The city proper has only 900,000. Tōkyō was connected by railway with Yokohama in the autumn of 1872; horse tramways were laid along the main thoroughfares in 1882; the first electric lighting company was formed in 1885, and a telephone exchange was opened in 1890. In the same year, a short electrical railway was laid within the grounds of the Ueno Park. Three great Industrial Exhibitions have been held in Tōkyō, the first in 1877, and the last in 1890.

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The buildings of the Imperial Diet, inaugurated in November, 1890, were burnt down two months later. A plan of city improvement has recently been adopted, in consequence of which the narrower streets of any district burnt down are widened, and better sanitary arrangements introduced. Owing to the shape and the vast extent of the city, it is impossible to combine all the chief sights in a single round. The best plan is to take them in groups, according to the direction in which they lie. The following description proceeds on this principle.

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1.—The Kwankōba. Shiba Park. Temples and Tombs of the Shōguns. Zempukuji. The Forty-seven Rōnins. Nyorai. Atago-yama. From the Shimbashi Railway terminus, a long narrow street, called Hikage-chō at the beginning and Shimmei-mae at the end, leads to Shiba Park, and is worth strolling along for the sake of the shops. Passing through the Daimon or ‘Great Gate,’ we turn through the park r. to the Kwankōba, the best bazaar in Tōkyō, where all prices are fixed, and every sort of article used in the daily life of the Japanese people may be obtained. Shiba Park (Shiba Kōenchi) formed, till 1877, the grounds of the great Buddhist temple of Zōjōji, the head-quarters in this city of the Jōdo sect.

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Here are still preserved the Mortuary Temples (Go Reiya) of several of the Tokugawa Shōguns, Ieyasu, the founder of that dynasty and of Yedo, having taken Zōjōji under his special protection, and chosen it as the temple where the funeral tablets (ihai) of himself and his descendants should be preserved. The monastery had been originally founded in 1393, but was removed in 1596 to the present site. The partial transfer of the temple to the Shintōists, in 1873, naturally led to friction between them and the Buddhists, the gravest consequence of which was the destruction by fire of the magnificent main building on the 1st January, 1874. It has lately been replaced by a new building, smaller and much less beautiful.

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Only the large gate (sammon) remains just as it was built in 1623. This temple, which is used for popular worship, must not be mistaken for one of the Mortuary Temples. The following is a list of the Tokugawa Shōguns. Those whose names are marked with an asterisk are buried at Ueno, at the opposite end of Tōkyō; those whose names have a dagger prefixed lie at Nikkō, 100 miles to the N. of Tōkyō, and the others at Shiba. Personal name; posthumous title; died A.D. 1. †Ieyasu, Tōshōgū, 1616. 2. Hidetada, Taitokuin, 1632. 3. †Iemitsu, Taiyūin, 1651. 4. *Ietsuna, Gen-yūin, 1680. 5. *Tsunayoshi, Jōken-in, 1709. 6. Ienobu, Bunshōin, 1713. 7. Ietsugu, Yūshōin, 1716. 8. *Yoshimune, Yūtokuin, 1751. 9.

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Ieshige, Junshin-in, 1761. 10. *Ieharu, Shimmeiin, 1786. 11. *Ienari, Bunkyōin, 1841. 12. Ieyoshi, Shintokuin, 1853. 13. *Iesada, Onkyōin, 1858. 14. Iemochi, Shōtokuin, 1866. 15. Yoshinobu (usually called Keiki), still living at Shizuoka in Suruga. The Shiba Temples, which are among the chief marvels of Japanese art, should, if possible, be visited on the forenoon of a fine day. Otherwise their situation, and the black boarding which has been put up to ward off the attacks of the weather, will interfere with a proper enjoyment of their minutely elaborate decorations. They may best be taken in the following order.

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Persons pressed for time might limit themselves to an inspection of the temple and tomb (Octagonal Shrine) of the 2nd Shōgun only (see p. 72). The entrance to the Mortuary Chapels of Ietsugu and Ieshige, the 7th and 9th Shōguns, is immediately opposite the Kwan-

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kōba. A highly ornamented gate called the Ni-Ten Mon, or ‘ Gate of the Two Déva Kings,’ leads into a court containing numerous stone lanterns offered by Daimyōs as a mark of respect to the memory of their deceased lord and master, the Shōgun. At the opposite end of the court is the Choku-gaku Mon, or ‘Gate of the Imperial Tablet, so called from a tablet hung over the lintel, containing in gold letters the posthumous name of the 7th Shōgun in the fac-simile of the handwriting of the Mikado known to history as Naka-no-Mikado-no-In (d. 1737). This gate is remarkable for its pillars with dragons twisted round them, originally gilt over a coating of red oxide of iron.

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Passing through this gate, we enter an inner court lined with bronze lanterns, two hundred and twelve in all, dating some from A.D. 1716, some from 1761, also the gift of Daimyōs, and having r. a belfry and 1. a cistern for holy water. Hence through a third gate called the O Kara Mon, on either side of which stretches a gallery with beautifully painted carvings of flowers and birds. in the panels. Observe the angel on the ceiling, the work of Kano Ryōsetsu.

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A short colonnade of black pillars edged with gold leads to the portico of the temple, where, among other marvels of carving, are two dragons, called ‘the ascending and descending dragons’ (Nobori-ryū and Kudari-ryū), serving as beams to connect the temple with two pillars outside. Up to this point the public has free admittance. Those desirous of seeing the interior of the temple, together with the tombs, must apply to the custodian, and pay him on departing a fee of 20 cents per head. Boots must of course be removed before entering. These observations hold good at all the other Mortuary Temples. The 69 visitor is led directly into the sanctum containing the altar.

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And here be it observed that each of these Mortuary Temples consists of three parts,—an outer oratory (haiden), a connecting gallery or corridor (ai-no-ma), and an inner sanctum (honden). In each of these one finds oneself in a blaze of gold, colours, and elaborate arabesques, which, especially if the day be fine, quite dazzle the eye by their brilliancy. In feudal times, when the Shōgun came to worship the spirits of his ancestors, he alone ascended to the sanctum, the greater Daimyōs ranged themselves next to him in the corridor below, while the lesser nobility occupied the oratory.

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The altar of this temple is separated from the corridor by one of those bamboo blinds bound with silk, which, together with a peculiar kind of banner, temper the brilliancy of the other decorations. The sanctum contains three double-roofed shrines of the most gorgeous gold lacquer, picked out with body-colour below the eaves, and held together by costly and elaborate metal-work. That to the r. contains a wooden image of the father of the 6th Shōgun, that in the middle an image of the 7th Shōgun, and that to the l. one of the 9th Shōgun, together with the . funeral tablets of each. The images, which are considered sacred. because presented by Mikados, are never shown.

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On either side of each shrine stand wooden statuettes of the Shi Tennō, who, according to the Buddhist mythology, guard the world against the attacks of demons. In front are Kwannon and Benten. The wall at the back is gilt, while the altar and two tables in front are of splendid red lacquer. In innumerable places may be seen the three-leaved Asarum or Kamo-aoi, which is the crest of the Tokugawa family, and the lotus, the

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Buddhist emblem of purity. The altar is protected at night by massive gilt gates ornamented with the family crest and conventional flowers. Descending into the corridor, and noticing as we pass the gorgeous panelling of the ceiling, we reach the oratory; where the decorations are on a similar scale of magnificence. Observe the conventional paintings of lions on the wall. Under the baldachin sits on festival days (12th and 13th of each month, when visitors are not admitted) the abbot of Zōjōji, while the priests are ranged around at small lacquer tables. The lacquer boxes on the latter contain scrolls of the Buddhist Scriptures.

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As the guide leads the way from the temple to the tombs, observe on the eaves the carvings of musical instruments, lions, dragons, etc. Observe, too, the carvings of unicorns (kirin) on the Oshi-kiri Mon, or ‘ Dividing Gate,’ - which is now passed through. Although the carving is openwork, the dragons appear quite different according to the side from which they , are viewed. Thence through a noble court with more bronze lanterns, to a stone staircase which leads up to the site of the Tombs,—that of the 7th Shōgun to the l. that of the 9th Shōgun to the r. Below each tomb is a highly decorated oratory. The tombs are of stone, in the shape called hoto (treasure shrine), which somewhat resembles a pagoda.

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They stand on an octagonal granite base, with a stone balustrade. 'Their simplicity contrasts strongly with the lavish magnificence of all that goes before. As Mitford says in his ‘Tales of Old Japan,’ ‘the sermon may have been preached by design, or it may have been by accident, but the lesson is there.’ The pattern on the black copper facing round the wall enclosing the tomb, is intended to represent the waves of the sea. The body is said to be buried at a depth of 20 ft., and to have been coated with vermilion and charcoal powder to prevent decay. The tomb of the 9th Shōgun is a replica of that of the 7th.

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On leaving this place, we pass the oratory of the 9th Shōgun, and notice the exquisite carvings in high relief of peacocks on the panels of the gate. Leaving this temple by the Choku-gaku Mon, and turning r. through rows of stone lanterns, we soon reach r. another splendidly carved gate, which gives access to the temple and tombs of the 6th, 12th, and 14th Shōguns. In arrangement, the temple closely resembles the one we have just left; but the gilt is fresher, the carvings truer to nature, and the general impression more magnificent, the result perhaps of the interest taken by the 6th Shōgun in the preparation of his own last resting place.

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The flowers and birds in the spaces between the cornice and the lintel of the oratory are perfect, both in chiselling and in delicacy of colour. The coffered ceiling is a masterpiece; and the vista of the altar, as one stands under the baldachin, reveals an indescribable glory of blended: gold and colours. The order of the shrines on the altar is, from r. to l., that of the 12th, 6th, and 14th Shōguns, the shrine of the last containing also the funeral tablet of his consort.

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From the Mortuary Temple, a flight of steps at the back leads up to the tombs of these three Shōguns and of the consort of the) 14th, who was aunt to the present Mikado, and after the death of her husband bore the title of Sei-kwan-In-no-Miya. Her funeral in 1877 was the last performed in these precincts. Each tomb has a small oratory attached.

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The fine bronze gate of the enclosure of No. 6, which is the first tomb reached, is said to be the work of Korean artificers; but the design was probably furnished by a Japanese draughtsman. The dragons in low relief on the r. and l., both inside and out, are especially worthy of attention. Next to it is the tomb of the 12th Shōgun, and beyond it again those of the 14th and his consort. The tomb of this princess is of bronze and marked by the Imperial crest, the sixteen-petalled chrysanthemum, Quitting the grounds of this Mortuary Temple by a small side door to the r., we turn down l. to the main road, and enter the grounds of the Monastery of Zōjōji by the big gate.

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To the r. is a small shrine dedicated to the ‘Five Hundred Rakan, having in front of it a stone with the imprint of Buddha’s feet, which are of phenomenal size. On the l. are the temple offices (jimusho). In front is the main temple, in the plainest style, but spacious within. The large gilt image of Amida enthroned on the altar is from the chisel of the famous Buddhist abbot and artist Eshin. The temple possesses many objects of artistic and historical interest, but they are not generally shown. The little temple at the back of Zōjōji, in the same brilliant style of decoration as the Mortuary Temples, is called Gokoku-den.

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It contains the Kuro-Honzon or ‘ Black Image’, a statuette of Amida by Eshin, which is noteworthy on account of the veneration in which it was held by Ieyasu, who used to carry it about with him in his campaigns, and ascribe his victories to its influence. Admittance to the Gokoku-den is gained through the priests’ house to the l. The Black Image, which is not shown save on great occasions, is enclosed in a handsome gold reliquary. Another reliquary contains small marble images of the Sixteen Rakan. Observe the curious plate-shaped ornaments above the pillars in front of the altar, with the Buddhist gods Shaka, Monju, and Fugen, and attendant animals in high relief.

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The bold paintings of hawks around the walls recall Ieyasu’s fondness for hawking. The fine bronze image of Shaka outside dates from 1763. Such unprotected statues are called in Japanese by the rather irreverent name of ‘ Wet Saints’ (nure-botoke), The thin sticks inscribed with Sanskrit characters which stand behind it, are termed toba or sotoba, a corruption of the Sanskrit stūpa (‘tope’), originally a monument erected over the remains of a saint. The notches in the wood represent the ball, crescent, pyramid, sphere, and cube of the complete stūpa, which are emblematic of Ether, Air, Fire, Water, and Earth. One glance at a sotoba is said to ensure the forgiveness of all sins.

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Coming down from Gokoku-den, and leaving the Zōjōji enclosure reach the Mortuary Temple attached to the tombs of the consorts of the 2nd, 6th, 11th, and 12th Shōguns. Admittance is by the priests’ house to the l. Though the oratory is plainer than those already described, the altar is by no means less splendid. Gilded gates, gilded panelling, huge gilded pillars,—everything sparkles with gold, while the shrines on the altar are the most magnificent specimens extant of a peculiar kind of lacquer adorned with metal-work. Their order is, from r. to l., the consorts of the 12th, 6th, 2nd, and 11th Shōguns, while in the extreme corner is that of the concubine of the 5th.

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The coffered ceiling, decorated with the phœnix in various colours, is specially fine. From this temple, we pass into the court of that attached to the tomb of the 2nd Shōgun. Entrance through the priests’ house to the right. The sanctum is a grand

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example of Japanese religious architecture. Two huge gilded pillars called daijin-bashira, r. and l. of the altar, support the lofty vaulted roof, curiously constructed of a network of beams. The upper part of the walls is decorated with large carved medallions of birds in high relief, richly painted and gilt. The shrine is of fine gold lacquer, about 250 years old, and the tables in front deserve inspection. The bronze incense-burner in the form of a lion dates from 1635, Ieyasu’s war-drum rests in a large ornamental stand. The coffers in the ceilings are filled with fret-work over lacquer.

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A short and pretty walk through the wood at the back leads to the Hakkaku-do, or Octagonal Hall, containing the tomb of the 2nd Shōgun, which is the largest specimen of gold lacquer in the world and one of the most magnificent. Parts of it are inlaid with enamel and crystals. The scenes on the upper half represent the ‘Eight Views’ of Siao-Siang in China and of Lake Biwa in Japan, while the lower half is adorned with the lion and peony, the king of beasts and the king of flowers. The base is of stone shaped like a lotus-flower. The shrine contains only an effigy of the Shōgun and his funeral tablet, the actual body being beneath the pavement. The interior walls of the hall are of lacquer gilded over.

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Eight pillars covered with gilt copper plates support the roof. Outside this building are two curiously carved stones dating from 1644. The subject of one is Shaka’s Entry into Nirvana, and of the other the Five-and-twenty Bosatsu coming with Amida to welcome the departed soul. The oratory in front of the ‘Octagonal Shrine’ contains nothing worthy of notice. Descending again to the Mortuary Temple, and passing through its two gates, the visitor turns sharp to the r. through a third gate, and follows a stone walk lined with cherry-trees to a torii, standing in front of the temple of Ankokuden.

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Here, on the 17th of every month, a popular festival is held in honour of Ieyasu, who is worshipped as a Shintō deity under the name of Tōshōgū. Constructed when Buddhism was dominant, this temple is architecturally as highly ornamented as the rest, the present influence of the Shintō cult being indicated only by the paper symbols (gohei) in the oratory, which also contains a large bronze mirror and two gilt koma-inu. The sanctum (admittance through the shamusho or temple office to the r.) stands behind, in a separate enclosure. The coffered ceiling is very good, as are the hawks and birds of paradise on a gold ground in the panels round the interior.

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Specially excellent is a painting by Kano Hogen at the back of the altar, representing Shaka attended by Monju and Fugen. The shrine is about 4 ft. high, with an elaborate cornice of three rows of brackets; and its walls are of splendid gold lacquer with raised designs. In front, on the door-panels, are eight small landscapes, in which a dragon is seen descending through the clouds on either hand. At the sides are boldly designed groups of the pine and bamboo. Inside is a life-like wooden effigy of Ieyasu, which can be seen only on the 17th day of the month.

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The big wooden building in European style, nearly opposite the entrance to Ankoku-den, is called Yayoi-sha, and is used for holding meetings of various kinds. A visit to Shiba may be terminated by walking up Maruyama, the little hill at the back, which commands a pretty view of the bay. Close to the pagoda, which is not open to the public, stands a monument erected in 1890 to the

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memory of Ino Chikei, the father of Japanese cartography, who flourished in the 18th century. Thence one descends to the little Temple of Benten, picturesquely situated on an islet in a lake overgrown with lotuses. Further back in the wood stands the Kōyō-kwan, or ‘Maple Club,’ where fine entertainments in native style are given. Shiba is specially lovely in early April, when the cherry-trees are in flower. About 1 m. from the Shiba temples in the direction of Shinagawa, stands the Buddhist temple of Sengakuji, where the Forty-seven Ronins (Shi-jū-shichi Shi) lie buried. (For their dramatic story, see ‘Things Japanese,’ p. 126. A more detailed account is given in Mitford’s ‘ Tales of Old Japan’).

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The well (Kubi-arai ido), where the Ronins washed the head of the foe on whom they had taken vengeance, still exists by the side of the path leading to the tombs, which are ranged round the sides of a small square court. That in the further corner is the grave of Ōishi Kuranosuke, the leader of the faithful band; and the monument next to his, on the other side of the stone fence, marks the grave of the lord for whose sake he and his comrades sacrificed their lives. The popular reverence for these heroes is attested by the incense perpetually kept burning before Ōishi’s grave, and by the visiting cards left there at New-Year time. Painted statuettes of the ‘ Forty-seven ’ are exhibited in a building below.

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A little nearer Shinagawa stands Nyoraiji, a Buddhist temple dedicated to the ‘Five Buddhas of Wisdom,’ whose gigantic images, carved in A.D. 1635, are here enshrined. On the way back, one may obtain a good view by ascending Kirishima-yama, a wooden structure 100 ft. high, close to the railway line, erected in 1890 as a model of the celebrated mountain of the same name in Kyushu. Or else one may go up Atago-yama, a natural hill a little to the N. of Shiba Park, named after the higher Mount Atago at Kyōto.

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Atago-yama, like many other such places in Japan, has two flights of steps leading up it, one of which, called ‘ the men’s staircase, is straight and steep, while the other, or ‘ women’s staircase, is circuitous but less fatiguing. A tower has recently been erected on Atago-yama, which visitors should pay a trifling fee to ascend. The view includes Fuji, the Hakone range, Ōyama, Mitake, Mount Tsukuba, the provinces beyond Tōkyō Bay with Kano-zan and Nokogiri-yama, and of course Tōkyō itself.

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2.— AKASAKA AND AZABU. Akasaka and Azabu are the highest and healthiest parts of Tōkyō, but contain little of interest to the tourist. In a part of Akasaka called Aoyama, is situated the palace occupied for many years by the Mikado while the present palace was building, and now by the Empress Dowager and the Crown Prince. It is not open to the public; but the élite of Tōkyō society is invited there once yearly in November, to witness what is perhaps the most wonderful show of chrysanthemums in the world. Closely adjoining it, is an immense parade ground, where the great annual review on the Mikado’s birthday (3rd November) is held.

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A little further to the S. is the Aoyama Cemetery, part of which has been set apart for the interment of foreigners. On the borders of Akasaka and Azabu stands the Shintō temple of Hikawa, now much neglected, but remarkable for the antiquity of its first foundation (7th century). Opposite the entrance is the house

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inhabited by Sir Edwin Arnold in 1889-90, while composing his beautiful poem, ‘The Light of the World.’ 4 Zempukuji, a temple of the Monto sect, dates from A.D. 1232, and is somewhat striking. The main hall of the temple is 96 ft. square. The pillars supporting the roof are massive and unadorned, save by a few touches of white paint on the capitals, in accordance with the usual practice of the sect. The screen dividing the nave from the chancel, as also the altar itself, are good specimens of florid ornamentation in gold and colours. The temple relics are exhibited from the 1st to 6th November.

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In the court-yard stands an enormous Icho tree known as the ‘ Staff Icho.’ Local tradition says that when Shinran Shonin, the founder of the Monto sect, was about to depart for Kyōto and bade adieu to Ryōkai, the apostle of the sect in Eastern Japan, he stuck his staff upside down into the ground, saying, “Like this staff shall be the strength of the faith and the salvation of the people,’ upon which the staff immediately began to take root and sprout upwards.

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3.—Chief Buildings in Kōjimachi. The Diet. Sannō. Ōkubo’s Monument. Shōkonsha. Leaving Shimbashi station and turning l. along the moat, the buildings of the Imperial Diet, if reconstructed as proposed on the site where the original edifice was burnt down in 1891, will be seen beyond the embankment on the other side. The fine brick buildings soon passed r. were completed in 1877 for the College of Engineering, the earliest scientific academy established in Japan, and presided over by British professors.

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Since the amalgamation of this College with the Imperial University in 1886, the buildings have been used for various purposes, a portion of them being temporarily appropriated to the meetings of the Lower House of the Diet. Turning along the moat r., we come to a stretch of flat ground, which was, till recently, a swamp called Tame-ike. On the hill to the r. is the mansion of Marquis Nabeshima, formerly Prince of Hizen and now Grand Master of Ceremonies at the Imperial Court. In front is the prettily wooded eminence on which stands the Shintō Temple of Sannō, officially styled Hie no Jinja. Dating in its present form from 1654, it was adopted by the Shōguns of the Tokugawa dynasty as their tutelary shrine.

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The situation is pretty, and the place is seen to advantage in spring, when the cherry-trees are in flower; but all the buildings except the main temple are falling into decay. In each of the inner compartments of the large gate stands an image of a monkey ornamented with a bib, that animal being regarded as the servant of the divinity of Hie, for which reason monkeys also figure on the altar. This neighbourhood, of which, the chief part is called Nagata-chō, is one of the most fashionable in Tōkyō. Here stand the palaces of Princes Kita Shirakawa and Arisugawa, and the residences of many high officials and foreign diplomats. Hence in local parlance, it is sometimes nicknamed Daimyo Koji, or the ‘Daimyo Quarter.

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Below Prince Kita Shirakawa’s Palace is the Kioi-chō Koenchi, a small public garden containing a huge monolith commemorative of Okubo Toshimichi, one of the founders of the new order of things in Japan, who was assassinated near this spot on the 14th May, 1878, as he was driving from his residence to the Imperial Palace. On the top of the hill of Kudan, a short way beyond the British Legation, stands the modern Shintō temple of Yasukuni, better known as the

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Shōkonsha, or Spirit-Invoking Shrine. This temple was erected in 1869 for the worship of the spirits of those who had fallen fighting for the Mikado’s cause in the revolutionary war of the previous year. Services are also held in honour of those who fell in the Saga troubles of 1873, and in the Satsuma rebellion of 1877. The Shōkonsha is built in accordance with the severest canons of pure Shintō architecture, and is completely empty except for a mirror, a European drugget, and a dozen cheap wooden chairs for the use of the officials who come to assist at the memorial services which are held from time to time, the principal ones being on the 6th May and 6th November.

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These occasions are enlivened by horse-races, wrestling, and other amusements which draw a large concourse of spectators. The enormous bronze torii was set up in December, 1887. The grounds behind the temple have been tastefully laid out, and look their best in early spring when the plum-trees are in blossom. The brick building to the r. of the temple is the Yushu-kwan, a Museum of Arms, which is open on Sundays, Wednesdays, and Saturdays, from 8 a.m. till 5 p.m. in summer, and from 9 to 8 in winter. It is well-worth a visit, for the sake of the magnificent specimens of old Japanese swords and scabbards which it contains, as well as armour, old Korean bronze cannon, etc.

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The granite lanterns lining the avenue which runs down the centre of the race-course, were presented by the nobility in 1878. Leaving the grounds of the Shōkonsha, we come to an ancient stone beacon, which formerly lighted junks on their way up Tōkyō Bay. Opposite to it, stands a monument in the shape of a bayonet, erected in 1880 by the soldiers of the Imperial Guard, in memory of their comrades who had fallen fighting on the loyalist side in the Satsuma rebellion. From this point a fine view is obtained of the city in the direction of Ueno. 'The prominent edifice on the bluff opposite (Suruga-dai) is the Russian Cathedral, opened in 1891.

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4.—Kōjimachi (continued). Inner Moat. THE IMPERIAL PALACE. ‘Another and more direct way from Shimbashi to the Shōkonsha at Kudan, is by crossing the first bridge (Dobashi) over the moat, passing the Rokumei-kwan, a large edifice used for social purposes, on the r., and going straight on as far as the site of the Houses of the Diet, at the further end of the Hibiya parade ground. Here the road turns r., with the Russian Legation, the Foreign Office (Gwaimusho), and military barracks on the l. Skirting the moat, the large building seen in front is the Head-Quarters of the General Staff Department.

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Near here, on the 14th March, 1861, Ii Kamon-no-Kami, Regent during the interval preceding the election of a new Shōgun, and a man of rare sagacity and favourable to foreign intercourse, was assassinated in broad daylight by emissaries of the Prince of Mito, who was desirous of seating his own son on the throne. ‘To elucidate this incident, it should be mentioned that there were three branches of the Tokugawa family, viz. Kii, Mito, and Owari, from whom the Shōguns were elected by a family council, and that the election had fallen upon a young prince of Kii, thus baulking Mito’s plans.

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The moat here, with its green banks and spreading trees and the myriads of wild-fowl fluttering in the water, affords one of the prettiest sights in Tōkyō. The vast enclosure of the Imperial Palace lies beyond the moat. The Imperial Palace. Though the new palace inhabited by His Majesty the Mikado since 1889 is not accessible to the public, the following description, abridged from the ‘Japan Mail,’ may be of interest :—

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Entering through long corridors isolated by massive iron doors, we find ourselves in the smaller of two reception rooms, and at the commencement of what seems an endless vista of crystal chambers. This effect is due to the fact that the shoji, or sliding-doors, are of plate-glass. The workmanship and decoration of these chambers are truly exquisite. It need scarcely be said that the woods employed are of the choicest description, and that the carpenters and joiners have done their part with such skill as only Japanese artisans seem to possess.

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Every ceiling is a work of art, being divided by lacquer ribs of a deep brown colour into numerous panels, each of which contains a beautifully executed decorative design, painted, embroidered, or embossed. The walls are covered in most cases with rich but chaste brocades, except in the corridors, ’ where a thick, embossed paper of charming tint and pattern shows what. skill has been developed in this class of manufacture at the Imperial Printing Bureau. Amid this luxury of well-assorted but warm tints remain the massive square posts—beautiful enough in themselves, but scarcely harmonising with their environment, and introducing an incongruous element into the building.

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The true type of what may be called Imperial esthetic decoration was essentially marked by refined simplicity — white wooden joinery, with pale neutral tints and mellow gilding. The splendour of richly painted ceilings, lacquered latticework, and brocaded walls was reserved for Buddhist temples and mausolea. Thus we have the Shintō, or true Imperial style, presenting itself in the severely colourless pillars, while the resources of religious architecture have been drawn upon for the rest of the decoration.

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In one part of the Palace building the severest canons have been strictly followed: the six Imperial Studios, three below stairs and three above, are precisely such chaste and pure apartments as a scholar would choose for the abode of learning. By way of an example in the other direction, we may take the Banqueting Hall, a room of magnificent size (540 sq. yds.) and noble proportions, its immense expanse of ceiling glowing with gold and colours, and its broad walls hung with the costliest silks. The Throne Chamber is scarcely less striking, though of smaller dimensions and more subdued decoration. Every detail of the work shows infinite painstaking, and is redolent of artistic instinct.

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The furniture of the Palace was imported from Germany. Externally the principal buildings are all in pure Japanese style. The appropriation for the Palace was $3,000,000; but to this amount must be added considerable sums voluntarily offered by wealthy Japanese, as well as valuable contributions of materials. The unpretentious brick and plaster structure to be seen from the E. side, rising above the moat in the Palace enclosure, contains the offices of the Imperial Household Department (Kunaishō).

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Not far from the Palace, in an Easterly direction, is the Insatsu Kyoku or Government Printing Office, a vast and well-organised establishment, to the inspection of which a day may be profitably devoted, as its scope includes much besides mere printing. Here, among other things, is manufactured the paper currency of the country. The Ministries of Finance, of Education, and of the Interior, together with various other Government Offices, are in the same neighbourhood.

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5.—Ginza. NIHON-BASHI. Curio Street. Seidō. Kanda Myōjin. Imperial University. Dango-zaka. O-Gwannon. Botanical Garden. Muryō-in. Kirishitan-zaka. Denzū-in. Koishikawa. Arsenal and Garden. Gokokuji. Imperial Cemetery. The most important thoroughfare in Tōkyō, which none should fail to see, leads from the Shimbashi terminus to Megane-bashi. The portion of it nearest to the station is called the Ginza, and has many shops in European style. Proceeding along it, the traveller crosses the Kyōbashi and Nihon-bashi bridges, from the latter of which all distances in Eastern Japan are calculated. The new General Post-Office stands close by.

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Parallel to the portion of the main street between these bridges is Naka-dori, a street highly attractive on account of its second-hand curio shops. Nihon-bashi has also given its name to the surrounding large and busy district, which is filled with shops, market-places, and godowns. The great fish-market is a notable sight in the early hours of the morning. Megane-Bashi, or ‘Spectacles Bridge,’ is so called from its circular arches. The portion of the canal to the l. is popularly known as ‘ Sendai’s Weeping Excavation ’ (Naki-bori).

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Local history says that Tsunamune, ' Daimyo of Sendai, was in the habit of squandering large sums at the Yoshiwara, and that the Shōgun, in order to turn him from his rakish ways, and also to put such extravagance out of his power, imposed on him the task of deepening and widening this part of the moat —a work which he is said to have performed with much lamentation over the drain on his purse. A little way on is Seidō, the Sage’s Hall or Temple of Confucius, now used as an Educational Museum. It is pleasantly situated on rising ground in the midst of a grove of trees, among which the fragrant mokusei is most conspicuous.

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The buildings, which date from 1691, are fine specimens of the Chinese style of architecture. The main hall facing the entrance is supported on black lacquered pillars, the ceiling is also of black lacquer, while the floor is of finely chiselled square blocks of stone. Opposite the door is a wooden image of Confucius, possessing considerable merit as a work of art. The Museum, which contains specimens of school and kindergarten furniture, books, maps, etc., is open daily to visitors. Just above, in the same grounds, stand the two sections of the Normal School (Shihan-Gakko), that in brick being for men, the other for women.

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Behind the Seidō, is the Shintō temple of Kanda Myōjin, dedicated to the god Onamuji and to Masakado, a celebrated rebel of the 10th century. After the final overthrow of Masakado, his ghost used to haunt the neighbourhood. In order to lay this spectre, apotheosis was resorted to in the 13th century. The temple, for which a hoary antiquity is claimed, but which was only established in its present site in 1616, has been frequently burnt down and rebuilt since that time. The temple, originally decorated with paintings by artists of the Kano school, has now grown somewhat dingy, but is still popular with the multitude. The yearly festival, which is celebrated on the 15th September, is well-worth seeing.

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Entering the main street of the district of Kanda, one of the chief arteries of the Northern portion of the metropolis, we come r. to the Imperial University (Teikoku Daigaku), a set of handsome brick buildings standing in the extensive grounds of the former Kaga Yashiki, or mansion of the great Daimyo of Kaga,

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The germ of this institution was the Bansho Shirabe-jo, or ‘Place for the Examination of Barbarian Writings,’ founded by the Tokugawa Government in 1856.

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Seven years later, this name was changed to that of, Kaisei-jo, or ‘ Place for Developing and Completing,’ which indicated a change for the better in the views held by the Japanese as to the value of European learning, Numerous other changes have taken place both in the name and scope of the institution, which since 1881 has been placed on a thoroughly modern footing, and now includes Colleges of Law, Medicine, Engineering, Literature, Science, and Agriculture, where lectures are delivered by a large staff of professors of various nationalities and in various languages. The students number over 1,300.

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The courses that attract most students are those of Law and Medicine, A large hospital connected with the University stands in the same grounds, Other institutions under the authority of the President of the University are the Botanical Gardens in the district of Koishikawa, the Tōkyō Observatory at Iigura in Tōkyō, and the Marine Biological Observatory at Misaki in the province of Sagami, Further on in the direction of Ōji are the florists’ gardens of Dango-zaka, whither the townsfolk flock in thousands to see the chrysanthemum shows in November. The flowers are trained over trellis-work to represent historical and mythological scenes, ships, dragons, and other curious designs.

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In 1890, there were flowery representations of the chief members of the first Imperial Diet which had just been elected. The O-Gwannon, or ‘ Great Kwannon, may be worth a passing visit. The gilt image, which is 16 ft. high, was an offering made in the 17th century by a merchant of Yedo, and represents the goddess bending slightly forward, and holding in her hand the lotus, the emblem of purity. Round the walls of the shrine containing the image, are ranged in tiers the Sen-tai Kwannon, or images of the ‘ Thousand Incarnations of Kwannon.’ The Koishikawa, Botanical Garden (Shoku-butsu-en) is open to the public. Duplicate specimens of the plants are for sale at the office.

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The small temple of Muryō-in, in the same district, is connected with the history of the early Catholic missionaries to Japan, some of whom lie buried in the cemetery. Hence the name of Kirishitanzaka, or ‘ Christian Hill,’ by which the locality is popularly known. The grave of the earliest of these missionaries, Father Giuseppe Chiara, who died in 1685, may be distinguished by a priest’s hat carved in stone. Readers desirous of further details are referred to the writings of Mr. Ernest Satow and Professor J. M. Dixon, in Vol. VI, Part I, and Vol.

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XVI, Part III, of the ‘Transactions of the Asiatic Society of Japan.’ The temple of Denzū-in, close by, has a certain historic interest as — the resting-place of Ieyasu’s mother. The main altar, surmounted by a large gilt image of Shaka, is handsomely ornamented. The Koishikawa Arsenal (Hōhei Kōshō) occupies the site of the former mansion of the Prince of Mito. Here are manufactured the celebrated Murata rifles. An order from the military authorities is necessary to gain admittance. An order is also necessary for the Garden (Kōrakuen), which still remains intact, and is the finest specimen of the Japanese landscape gardener’s art to be seen in the capital.

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Its design was to reproduce in miniature many of the scenes whose names are familiar to the literati of Japan. Prince Mitsukuni, generally known as Mito Komon, laid out the grounds as a place in which to enjoy a calm old age after a life of labour. If the visitor has first inspected the Arsenal, he will then be conducted to a summer-house in the Garden, with an extensive grass-plot attached, and overlooking a lake copied from a noted one in China called Sei-ko. A small wooded hill rises beyond, which we ascend, and on which stands a miniature replica of the famous

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temple of Kiyomizu at Kyōto, enriched with carvings, but worn by time. Descending, we are immersed for a minute in the depths of a wood before reaching an old bridge with a rivulet running far below. Crossing the bridge and following up a zigzag path, we come to the shrine of Haku-i and Shiku-sei, the loyal brothers of Chinese lore, who, after the overthrow of their lord and master, refused to eat the corn produced under the conqueror’s sway, and, secluding themselves on Mount Shuyo, lived on ferns till, being told that ferns grew also on their enemy’s lands, they abstained even from that poor food, and so died of starvation.

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An arched stone bridge and another shrine, shaped octagonally in allusion to the Eight Diagrams of the Chinese system of divination, are next passed. From here, a tunnel-like opening leads through a thicket of creepers and other trees to a lake several acres in extent and full of lotus-flowers. The water, which comes from the Tamagawa aqueduct, is made to form a pretty cascade before falling into the lake. An island in the centre is connected with the mainland by a bridge. Everywhere there are magnificent trees—cherry-trees for the spring, maples for the autumn, plum-trees for the winter, making a change of scene at each season.

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Near the exit, is a hill with a path paved in such manner as to imitate the road over the Hakone Pass. On the extreme N. W. outskirt of the city stands the Buddhist temple of Gokokuji, now used as the head-quarters of the Shingon sect, who have a seminary there for young priests. With its extensive grounds, its silent belfry, and the perfect stillness of its surroundings, it recalls the memory of days now irretrievably past, when Buddhism was a mighty power in the land. The azaleas here are noted for their beauty. The chief treasure of the temple is a gigantic kakemono of Buddha’s Entry into Nirvana by Kano Yasunobu, which is shown only during the month of April.

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Adjoining Gokokuji is the new Cemetery of the Imperial family, selected since the removal of the Court to Tōkyō. It is not open to the public. The interment here in 1891 of Prince Sanjo, one of the leaders of the Restoration and long Prime Minister, was an imposing pageant.

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6.—Ueno Park, Temples, and Museum. Asakusa. Higashi Hongwanji. Temple of Kwannon. Mukōjima. Horikiri. Ueno Park is the most popular resort in the metropolis, and has been the site of three National Industrial Exhibitions. Here, in April, all Tōkyō assembles to admire the wonderful mass of cherry-blossom for which it is famous. No traveller should miss this opportunity of witnessing a scene charming alike for natural beauty and picturesque Eastern life.

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Originally the Yedo residence of the Todo family, Ueno was taken over by the Shōgun Iemitsu in the year 1625 for the purpose of erecting here in the North-Eastern, and therefore according to a prevalent superstition the most unlucky, portion of the new capital, a series of Buddhist temples that should surpass all others in splendour. The original main temple then founded occupied the site of the present Museum, and was burnt down in 1868 on the occasion of a bloody battle fought between the partisans of the Mikado and those of the Shōgun. The outer gate still exists, showing the marks of bullets. This temple was counted among the triumphs of Japanese architecture.

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Here always resided as high-priest a son of the reigning Mikado, retained in gilded slavery for political reasons, as it was convenient for the Shōguns to have in their power a prince who could at once be decorated with the Imperial title, should the Court of Kyōto at any time prove unfavourable

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to their policy. The last high-priest of Ueno was actually utilised in this manner by the Shōgun’s partisans, and carried off by them to Aizu when they raised the standard of rebellion. On their defeat, he was pardoned by the present legitimate sovereign, was sent to Germany to study, and is now known by the title of Prince Kita Shirakawa.

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Leaving his jinrikisha at the bottom of the hill, the traveller ascends r. a short flight of steps, leading to a plateau planted with cherry-trees and commanding a good view of the city, especially towards Asakusa, including the twelve-storied tower which is seen rising beyond the Ueno railway station, the circular Panorama building, and the high roof of the great Hongwanji temple. The stone monument on this plateau is dedicated to the soldiers who fell fighting for the Shōgun’s cause in the battle of Ueno. Close by to the l., is a dingy Buddhist temple dedicated to the Thousand-Handed Kwannon.

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Descending again to the main road, we reach the celebrated avenue of cherry-trees, a uniquely beautiful sight during the season of blossom. The air seems to be filled with pink clouds. To the l., is a shallow piece of water called Shinobazu-no-ike, and celebrated for its lotus flowers in August. On a little peninsula jutting out into the lake, are a number of tea-houses and a shrine dedicated to the goddess Benten. This formerly romantic spot has of late years fallen a victim to vandalism, the shores of the lake having been turned into a race-course. A little further up, is a branch of the Seiyōken Hotel, which commands a good view of the lake.

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The extensive buildings seen in the distance, on a height to the r., are some of the Colleges of the Imperial University. Close to the hotel is a bronze image of Buddha, 21½ ft. high, known as the Daibutsu. This inferior specimen of the bronze sculptor’s art dates from about the year 1660. Following along the main road for a few yards, we come l. to a bullet-riddled gate, preserved as a relic of the battle of Ueno. An immense stone lantern just inside the gate is one of the three largest in Japan, the work of Sakuma Daizenosuke who flourished early in the 17th century.

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Beyond it again, has stood since 1890 a switch-back railway, whose vulgar clatter strikes a strangely discordant note in the harmony produced by the stately cryptomerias, the ancient pagoda, and the glorious gold gate at the end of the long avenue of stone lanterns, presented in 1651 by various Daimyōs as a tribute to the memory of the Shōgun Ieyasu. To this Shōgun, under his posthumous name of Tōshōgū or Gongen Sama, the shrine within the gate is dedicated. The gate itself, restored in 1890, is a dream of beauty. Carvings of dragons adorn it on either side. Above are geometrical figures, birds, foliage, the Tokugawa crest of three Asarum leaves.

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It is intended to restore in the same style the temple whose gold has been worn away in many places. The details resemble those of the Mortuary Shrines at Shiba. The temple contains some fine specimens of lacquer. Round the walls hang pictures of the San-ju-rok-kasen, below which are screens with conventional lions. The San-jū-rok-ka-sen, or Thirty-six Poetical Geniuses, flourished during the 8th, 9th, and 10th centuries. The grouping of their names in a galaxy is attributed to a court noble of the 11th century named Kintō Dainagon. Their portraits were first painted by Fujiwara-no- Nobuzane about A.D. 1200, A complete list of their names will be found in Dr. Wm.

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Anderson’s interesting ‘Catalogue of Japanese and Chinese Paintings.’ Returning to the main road the way we came, and passing through the now closed buildings

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of the last National Industrial Exhibition, we reach the Ueno Museum (Hakubutsu-kwan). This institution, which is open every day except Monday, from 8 to 5 in summer, and from 9 to 4 in winter, is well-worth a visit. The contents are arranged as follows :— Ground Floor. L. of Entrance. Industrial Department :—Room 1, porcelain; Room 2, cloisonné, bronze, lacquer, metal-work, pottery, wood-work ; Room 3, carpets, lace, and woven stuffs; Room 4, tools, instruments, and miscellaneous articles. Ground Floor. R. of Entrance. Natural History Department. The front rooms contain the Zoological Section ; the back rooms, the Botanical and Agricultural Sections.

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An annexe at the back of the main building contains the Mineralogical Section, immediately behind which a pretty garden has been laid out. Upper Floor. Landing; ancient Imperial State bullock cart and palanquins, model of the Tenchi Maru, or ‘Ship of Heaven and Earth,’ which was the State barge used by the Shōguns. Upper Floor. Front rooms r. (above Industrial Department), Historical or Archaeological Department. The contents of this Department being of special interest, they are here indicated in greater detail, as follows :— Room 1. ‘First two cases r. and l. Stone arrow-heads, spear-heads, and pottery of the prehistoric period ; maga-tama and kuda-tama in jasper, agate, etc.

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The maga-tama, or ‘curved jewels,’ which somewhat resemble a tadpole in shape, were anciently strung together and used as necklaces and ornaments for the waist both by men and women, as were also the kuda-tama or ‘tube-shaped jewels.’ Their use survives in the Loochoo Islands. Second cases r. and l. Prehistoric stone celts and other objects; proto-historic copper mirrors and horse-trappings. Third cases. Proto-historic copper bells, iron swords, armour, horse-trappings, shoes, and cooking utensils. Fourth cases. Iron swords, spearheads, horse-trappings, pottery anciently used for the presentation of offerings to the Shintō gods.

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Some pieces from the provinces on the N.E. shore of the Inland Sea are remarkably ornamented with human figures in high relief. Fifth cases. Early pottery consisting of sacrificial cups, etc. Sixth cases. Earthenware images of men and horses used in proto-historic times for interment in the graves of illustrious personages, after the custom of burying their chief retainers alive with them ‘had been discontinued; figures of birds —apparently geese — which were used as a fence round the tumulus of the Emperor Ōjin in the province of Kawachi; fragments of earthenware posts used for a similar purpose. Room 2. First cases r. and l.

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Antiquities from the Buddhist temple of Horyuji in Yamato, including iron and wooden begging-bowls, nickel and bronze flower-vases and implements for food, golden tokko, and specimens of the miniature pagodas of which, in A.D. 764, the reigning Mikado caused a million to be made for distribution to all the Buddhist temples throughout the land. There are also manuscripts, which are among the earliest specimens of Japanese calligraphy. They are all in the Chinese language. Second cases. Antiquities from Horyuji, including incense-burners with long handles, boxes, shoes, and scarves, whose patterns show the stiff Chinese formality of the

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art-industry of early Japan, musical instruments, ecclesiastical ‘properties, such as exorcising-wands, temple seals, etc., and miscellaneous articles of common use. Third cases. Antiquities from Todaiji at Nara, including miscellaneous articles, Buddhist reliquaries—one of these holds specimens of the little bead-like relics of a Buddha which are known as shari — musical instruments, tuning-forks, and standard measures. Fourth cases.

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Christian relics: Many of these date from the embassy to Rome of Hashikura Rokuemon, who was sent thither by Date Masamune, Prince of Sendai, in 1614, with a train of followers, and returned to Japan in 1620, The official Japanese account of this curious episode is that the embassy went at the Shōgun’s desire, in order to investigate the political strength and resources of Europe, The version usually accepted by European writers is that the expedition really was what it avowed itself to be— an act of submission to the religious supremacy of the Pope.

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The envoy was well-received at the Roman Court, and was presented with the freedom of the city of Rome, besides being loaded with presents, The relics remained in the possession of the Date family at Sendai until a few years ago. Among the objects in these cases, are an oil-painting of Hashikura in prayer before a crucifix, an illuminated Latin document conferring on him the freedom of the city of Rome, holy pictures, rosaries, crucifixes, a small Japanese book of Catholic devotion in hiragana characters, photographs of Date Masamune’s letters to the Pope in Japanese and Latin, a portrait of Hashikura in his Italian costume, etc.

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To a set of circumstances very different in their nature, though not far removed in time, belong the fumi-ita, or “trampling boards,’—oblong blocks of metal with figures in high relief of Christ before Pilate, the Descent from the Cross, the Madonna and Child, etc., on which persons suspected of the crime of Christianity were obliged to trample during times of persecution, in order to testify to their abjuration of the ‘depraved sect,’ as it was called. The Dutch traders at Nagasaki are suspected of having lent themselves to this infamous practice for the sake of monetary gain. Fifth cases. Implements used in the Shintō religious cult. Sixth cases. Coins illustrating the currency of Japan from A.D.

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708 onwards; standard weights and measures. The very large oblong gold coins were called oban, the smaller ones koban. The last room of this suite contains a model of the Shintō shrines temporarily erected in the Fukiage Garden at Tōkyō for the coronation of the present Emperor, and burnt down after the ceremony. A small room 1. contains Imperial robes and the ancient Imperial throne, with exquisitely delicate silk hangings, which served to shroud majesty from the gaze of ordinary mortals. The back rooms on this side contain :—Room 1, court robes and ancient textile fabrics; Room 2, armour and weapons; Room 3, musical instruments, tea utensils, masks, and theatrical costumes.

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Upper Floor, 1. (above Natural History Department). Front Rooms, Fine Art Department. Central Room and Room 1, Kakemonos and Makimonos; Room 2, masks and images, chiefly bronze; Room 3, manuscripts and illustrated scrolls. The back rooms comprise the Art Industry Department,—lacquer, porcelain, bronze, etc. There is a large wing to the r. of the entrance, but it is not now open to the public. On quitting the Museum, an avenue r. leads to the Art School (Bijutsu Gakko), not accessible without a special introduction. In the same grounds, are a Public Library and Reading Room (Toshōkwan), and a learned Academy

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Tombs of the Shōguns. called the Gakushi Kai-in. Behind these, are the Zoological Gardens (Dobutsu-en). Before reaching the Toshō-kwan, an avenue turns off r. to the Tombs of the Shōguns(Go Reiya), abutting on the second and finer of the two Mortuary Temples (Ni no Go Reiya). The main gate is always kept closed, but a side entrance l. leads to the priest’s house. The resident custodian will act as guide for a small fee. The six Shōguns buried at Ueno belonged to the Tokugawa family, being the 4th, 5th, 8th, 10th, 11th, and 13th of their line. It is still at the private expense of the family that these shrines are kept up. In general style, they closely resemble those at Shiba, described on p.

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68, and are among the priceless legacies of the art of Old Japan. Like the Shiba shrines, too, they have suffered at the hands of thieves since the Revolution of 1868, This glorious building, a symphony in gold and blended colours, has a wooden colonnade in front, the red walls of which are divided into compartments, each containing a medallion in the centre, filled with painted open-work carvings of birds and flowers, with arabesques derived from the chrysanthemum above and a carved wave-design below. In the centre of this colonnade is a gate decorated with a painting of an angel. From here, an open colonnade leads up to the steps of the main building.

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The porch has brackets carved with conventional chrysanthemums. Its square columns are adorned with plum-blossoms in red and gold. Under the beams, are red and gold lions’ heads as brackets. The doors of the oratory are carved in diapers, and gilded all over. Note the tastefully painted diapers on the architrave. The ceiling is massive and loaded with metal fastenings. In the coffers are dragons in gold on a blue ground. ‘The interior walls are gilded, having in some places conventional paintings of lions, in others movable shutters. This apartment is 16 yds. wide by 7 yds. in depth. - The corridor which succeeds it is 4 yds. wide by 8 yds. in depth, and leads to the black lacquered steps of the inner sanctum.

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Its ceiling is decorated with the phœnix on a green and gold ground. Handsome gilt doors covered with carved arabesques close the entrance to the sanctum, which measures 7 yds. in depth by 11 yds. in width. The ceiling is decorated with fine gilt latticework in the coffers. The small shrines, containing the memorial tablets of the illustrious dead, are gorgeous specimens of gold lacquer. Beginning at the r., these shrines are respectively those of the 5th, 8th, and 13th Shōguns, and of Kokyo-In, son of the 10th Shōgun. R. and 1. are two shrines containing tablets of eight mothers of Shōguns. Curiously enough, all were concubines, not legitimate consorts. The actual graves are in the grounds behind.

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The finest, a bronze one, is that of the 5th Shōgun. Its bronze gate has magnificent panels with the phoenix and unicorn in bas-relief,— Korean castings from Japanese designs about 140 years old. The First Mortuary Temple (Ichi no Go Reiya) is close to the Second. On leaving the Second, turn to the l. to reach the priests’ house, where application for admission must be made. Here are buried the 4th, 10th, and 11th Shōguns, together with several princesses. ‘The monument of the 4th is in bronze, the others in simple stone. Over the grave of the 11th Shōgun hangs a weeping cherry-tree, placed there to commemorate the love of flowers which distinguished that amiable prince, whose reign (A.D.

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1787-1838) was the’ culminating point of the splendour of Old Japan. Returning towards the entrance of the park, we reach the Buddhist temple popularly known as Ryo

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Daishi, properly Jigen-Do, dedicated to the two great Abbots, Jie Daishi and Jigen Daishi, the former of whom flourished in the 9th century, the latter in the 16th and 17th. On this side of the park are some buildings often used of late years for art exhibitions of various kinds. We now leave Ueno, and passing along a busy thoroughfare, reach the district of Asakusa. The first object of interest here is the spacious temple of Higashi Hongwanji, popularly called Monzeki, the chief religious edifice in Tōkyō of the Monto sect of Buddhists. Though very plain, as is usual with the buildings of this sect, the Monzeki is worth visiting on account of its noble proportions. It was founded in 1657.

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The iron net-work thrown over the temple is intended to prevent sparks from falling on the wood-work, when there is a conflagration in the neighbourhood. The huge porch is adorned with finely carved wooden brackets, the designs being chrysanthemum flowers and leaves, and peony flowers and leaves. On the transverse beams are some curiously involved dragons. These are the best specimens of this sort of work to be seen in Tōkyō, and should not be passed over. Observe too the manner, peculiar to the buildings of this sect, in which the beams are picked out with white. The area of the matted floor of the nave (gejin) is 140 mats, and round the front and sides runs a wooden aisle 12 ft. wide.

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Over the screen which separates the chancel and its side-chapels from the nave, are massive gilt open-work carvings representing angels and phœnixes; the largest are 12 ft. in length by 4 ft. in height. The rest of the building is unadorned. Hanging against the gilt background of the temple wall, on either side of the altar, are to be seen several kakejiku, images of Buddhist saints, indistinguishable in the ‘dim religious light;’* also r. the posthumous tablet of Ieyasu, which is exposed for veneration on the 17th of the month. The honzon, Amida, is a black image, always exposed to view, and standing in a very handsome shrine of black and gold lacquer.

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From the r. side of the main hall, a bridge leads down to the Jiki-do, or preaching hall. At the main temple, sermons are only preached for one week in the year, viz. from the 21st to 28th November, when the gorgeous services (hō-on-kō) held in honour of the founder of the sect are well-worth witnessing. On this occasion, the men all go to the temple in the style of dress known as kata-ginu, and the women with a head-dress called tsuno-kakushi (lit. ‘horn-hider’)—both relics of the past.

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The ‘horn-hider’ would seem to have been so named in allusion to a Buddhist text which says: ‘A woman’s exterior is that of a saint, but her heart is that of a demon.’—Lesser services are held at the time of the vernal and autumnal equinoxes. Quaint testimony is borne to the popularity of this temple with the lower middle class by the notices posted up on some of the great columns in the main hall. Not only is there one to prohibit smoking, but one warning people not to come here for their afternoon nap (Hiru-ne — muyo)! On quitting the Monzeki, notice its nobly massive roof, with lions rampant at the corners.

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About 7 cho from the Monzeki, stands the great Buddhist temple of Sensoji, popularly called Asakusa Kwannon, because dedicated to Kwannon, the goddess of Mercy. A fabulous antiquity is claimed for the founding in this locality of a shrine sacred to Kwannon, the tradition being that the image which is now worshipped there, was fished up on the neighbouring strand during the reign of the Empress Suiko (A.D. 593—628) by a noble of the name of Hashi-no-Nakatomo, who had

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been exiled to this then desolate portion of the coast, and with two attendants gained his livelihood by casting his nets at the mouth of the Asakusa river. In his fishing hut the first altar is said to have been raised; and the crest of three nets, which is to be seen marking certain portions of the buildings, was devised in memory of the event. The miraculous image is never shown, but is commonly believed to be but 1/4 inch in height; and the disproportion between the smallness of the image and the vastness of the temple has passed into a popular saying. Instead of the actual sacred image, there is exhibited on the 13th December of every year another larger one which stands in front of the high altar.

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In the year 1180, Yoritomo endowed the temple with ninety acres of arable land. But when Ieyasu made Yedo his capital, he found the temple gone to ruin, and the priests living in disorder and immorality. The present buildings date from the time of Iemitsu, after the destruction by fire of the former edifice. They are in the possession of the Tendai sect of Buddhists.

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On no account should a visit to this popular temple and the grounds (Kōenchi) surrounding it be omitted; for it is the great holiday resort of the middle and lower classes, and nothing is more striking than the juxtaposition of piety and pleasure, of gorgeous altars and grotesque ex-votos, of pretty costumes and dingy idols, the clatter of the clogs, cocks and hens and pigeons strutting about among the worshippers, children playing, soldiers smoking, believers chaffering with dealers of charms, ancient art, modern advertisements—in fine, a spectacle than which surely nothing more motley was ever witnessed within a religious edifice.

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The most crowded time is Sunday afternoon, and the 17th and 18th of each month, days sacred to Kwannon. The main gate of the temple no longer exists. One walks up through a lane of red brick shops, where toys, photographs, and gewgaws of all kinds are spread out to tempt the multitude. The sammon, or two-storied gate in front of the temple, is a huge structure of red wood, with images of the Ni-ō on either side. The immense sandals hung up in front of the cages containing these images, are placed there by persons desirous of becoming good walkers.

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To the l., immediately before passing through the big gate, is a popular shrine of Fudō, just outside of which is a shrine of Jizo, distinguishable by a prayer-wheel (gosho-guruma) roughly resembling a pillar post-box.

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The prayer-wheel is, in Japan, found only in connection with the mystic doctrine of the Tendai and Shingon sects, and its use differs slightly from that to which it is put in Thibet, No prayers are written on it; but the worshipper, attributing to ingwa (the Sanskrit karma, that is, ‘the effects in this life of the actions in a former state of existence’) any sin of which he wishes to be rid, or any desire that occurs to him, turns the wheel with a simple request to Jizō to let this ingwa duly run its course—the course of ingwa resembling the perpetual revolutions of a wheel.

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On the opposite or r. side of the lane, on a mound, is the large Asakusa bell whose sonorous notes are heard all over the Northern part of the city. The great hall of the temple of Kwannon is 102 ft. square, and is entirely surrounded by a wide gallery. The large picture hanging above the entrance to the r. represents life (under the figure of two sleeping men and a sleeping tiger) as nothing more than a dream, the only living reality in which is the power of religion (typified by a Buddhist priest). The eye is struck, on entering, by the immense number of lanterns and pictures which cover the ceiling and walls. These are all offerings presented by believers. Some of the pictures are by good modern artists.

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One over the shrine to the r. represents a performance of the No, or medieval lyric drama, in which the red-haired sea-demon called Shōjō plays the chief part. Opposite is a curious painted carving in relief, representing the ‘Three Heroes of Shoku’ (a Chinese state established in the 2nd century chiefly by their

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efforts): The hero on the r., called Kwan-u, is now worshipped in China as the God of War. To the l. of this is one showing On-Umaya-no-Kisanda fixing his bow-string to shoot the foes of his master Yoshitsune, the latter (to the r.) being awakened by his mistress, the renowned and lovely Shizuka Gozen. The ceiling is painted with representations of angels, the work of Kano Doshun. The seated image to the r., with a pink bib round its neck, and now almost rubbed away with age, was a celebrated work of Jikaku Daishi, and represents Binzuru, the helper of the sick. At any time of the day believers may be observed rubbing it (see p. 28).

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The stalls in front of the main shrine are for the sale of pictures of the goddess Kwannon, which are used as charms against sickness, to help women in child-birth, etc., of tickets to say whether a child about to be born will be a boy or a girl, and so forth. The chancel is, as usual, separated from the nave by a wire screen, and is not accessible to the public. An offering tendered to one of the priests in charge will, however, generally procure admission.

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On the high altar, gorgeous with lamps, flowers, gold, damask, and sacred vessels, and guarded by figures of the Shi Tennō, of Bonten, and of Taishaku, the latter said to be the work of Gyōgi Bosatsu, stands the shrine which contains the sacred image of Kwannon. On either side are ranged images, some 2 or 3 ft. high, of Kwannon in her ‘ Three-and-Thirty Terrestrial Embodiments,’ each set in a handsome shrine standing out against the gold ground of the wall. R. and l. of the altar, hang a pair of votive offerings—golden horses in high relief on a lacquer ground —presented by the Shōgun Iemitsu. On the ceiling is a dragon, the work of Kano Eishin. The side altar to the r. is dedicated to Fudō.

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Observe the numerous vessels used in the ceremony of the goma prayers, which are frequently offered up here for the recovery of the sick. The twelve small images are the Ju-ni Doji, or attendants of Kwannon. The altar to the l. is dedicated to Aizen Myo-o, whose red image with three eyes and six arms is contained in a gaudy shrine. The two-storied miniature pagoda is simply an offering, as are also the thousand small images of Kwannon in a case to the l., and the large European mirror, in front of which is a life-like image of the abbot Zennin Shonin.

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At the back of the main altar is another called Ura Kwan-non (ura meaning ‘back’), which should be visited for the sake of the modern wall-pictures on lacquer with a background of gold leaf, by artists of the Kano school. Above are a crowd of supernatural beings, headed by a converted dragon in the form of a beautiful woman, who offers a large jewel to Shaka. Two of the latter’s disciples (Rakan) are at his r. foot, Monju at his l. foot, and Fugen below on the l. The figure of Fugen has been restored within the last thirty years. Those on the r. and l. walls are intended for the Twenty-eight Manifestations of Kwannon.

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In the grounds are several buildings of interest, and a number of ichō trees whose golden foliage in autumn is a sight in itself. Behind the great temple to the l., is a small shrine full of ex-votos inscribed with the character 目, ‘eye,’ presented by persons afflicted with eye disease. Beside it is a large bronze image of Buddha. The small hexagonal building immediately behind the great temple, is the Daiho-do or Jizo-do, containing a crowd of little stone images seated in tiers round a large one of Jizo. This divinity being the special protector of children,

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parents bring the images of their dead little ones to his shrine. Beyond the Jizo-do, is the Nembutsudo with a pretty altar. Turning r., we come to the Sanja—a Shintō shrine, dedicated to the Three Fishermen of the local legend, and having panels decorated with mythological monsters in gaudy colours. Note the bronze and stone lions in front. Passing the stage on which the Kagura dances are performed, we reach the Rinzō, or ‘Revolving Library,’ in a square building with carved lions on the eaves. The Rinzō is a receptacle large enough to contain a complete edition of the Buddhist Scriptures, but turning so easily on a pivot as to be readily made to revolve by one vigorous push.

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A ticket over the door explains the use of this peculiar bookcase: ‘Owing to the voluminousness of the Buddhist Scriptures—6,771 volumes —it is impossible for any single individual to read them through. But a degree of merit equal to that accruing to him who should have perused the entire canon, will be obtained by those who will cause this library to revolve three times on its axis; and moreover long life, prosperity, and the avoidance of all misfortunes shall be their reward.’ The invention of ‘Revolving Libraries’ is attributed to a Chinese priest called Fu Daishi, who lived in the 6th century. That at Asakusa is of red lacquer on a black lacquer base and stone lotus-shaped pedestal.

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The ceiling of the small building containing it has representations of clouds and angels. The images in front, on entering, represent Fu Daishi with his sons. Those trampling on demons are the Shi Tennō, and the life-size gilt figure is Shaka. The books, which were brought from China early in the 13th century, are aired every year at the autumn equinox, but are not shown at other times. The custodian, in return for a small gratuity, will allow visitors to make the library revolve. The Pagoda close by is no longer open to visitors. Adjacent to the temple enclosure we find the Asakusa Koenchi, or public grounds, where stands the lofty tower, properly called Ryoun-kaku, and more popularly, Ju-ni-kai.

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This building, erected in 1890, has twelve storeys, as its popular name implies, is 320 ft. in height, 50 ft. in internal diameter at the base, is ascended as far as the eighth storey in an elevator worked by electricity, and commands a more extensive view than any other point in the city. The grounds of Asakusa are the quaintest and liveliest place in Tōkyō. Here are raree-shows, penny gaffs, performing monkeys, cheap photographers, street artists, jugglers, wrestlers, life-sized figures in clay, vendors of toys and lollypops of every sort, and, circulating amidst all these cheap attractions, a seething crowd of busy holidaymakers.

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About 1 m. to the North of Asakusa is the celebrated Yoshiwara, the abode of frail beauties. On the other side of Azuma-bashi, the finest bridge in Tōkyō, is the garden of the former Satake Yashiki, one of the best specimens of the Japanese style of gardening. It contains an excellent tea-house. A little further on is Mukōjima, celebrated for its avenue of cherry-trees, which stretches for more than a mile along the l. bank of the Sumida-gawa. When the blossoms are out in April, Mukōjima is densely crowded with holidaymakers from morn till dusk, and the tea-houses on the banks and the boats on the river re-echo with music and merriment. ‘This sight, which lasts for about a week, should on no account be missed.

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The little temple at the end of the avenue was raised in remembrance of a touching story of the 10th century, which forms the subject of a famous lyric drama, Umewaka, the child of a noble family, was carried off from Kyōto by a slave-merchant, and perished in this distant spot, where his body was found by a good priest who gave it burial. The next year, his mother, who had roamed over the country in search of her boy, came to the place, where, under a willow-tree, the villagers were weeping over a lowly grave. On asking the name of the dead, she discovered that it was none other than

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her own son, who during the night appeared in ghostly form, and held converse with her; but when day dawned, nothing remained but the waving branches of the willow, and instead of his voice only the sighing of the breeze. A commemorative service is still held on the 15th March; and if it rains on that day, the people say the rain-drops are Umewaka’s tears. Another favourite flower resort lying some little way beyond Mukōjima, is Horikiri, famed for its irises which bloom in June. The excursion is a pleasant one at that time of the year. 7—Ekō-in. THE FIVE HUNDRED Rakan. Kameido. DISTRICT OF FuKAGAWA. SUSAKI.

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Crossing Ryōgoku-bashi, one of the largest bridges in the metropolis spanning the Sumida-gawa, we reach the noted Buddhist temple of Ekō-in. In the spring of 1657, on the occasion of a terrible conflagration which lasted for two days and nights, 107,046 persons are said to have perished in the flames. The Government undertook the care of their interment, and orders were given to Danzaemon, the chief of the pariahs (Eta, whose occupations were to slaughter animals, tan leather, assist at executions, etc.), to convey the bodies to Ushijima, as this part of Yedo was then called, and dig for them a common pit.

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Priests from all the different Buddhist sects came together to recite for the space of seven days a thousand scrolls of the sacred books for the benefit of the souls of the departed. The grave was called Muenzuka, or ‘the Mound of Destitution,’ and the temple which was built near it is, therefore, also popularly entitled Muenji. Ekō-in being, on account of its peculiar origin, without the usual means of support derived from the gifts of the relatives of the dead, was formerly used as the place whither sacred images were brought from other provinces to be worshipped for a time by the people of Yedo, and as a scene of public performances.

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The latter custom still survives in the wrestling-matches and other shows, which draw great crowds here every spring and winter. Ekō-in might well be taken as a text for those who denounce ‘heathen’ temples. Dirty, gaudy, full of semi-defaced images, the walls plastered with advertisements, the altar guarded by two hideous red monsters, children scampering in and out, wrestlers stamping, crowds shouting—the place lacks even the semblance of sanctity. In a small arched enclosure behind the temple, is the grave of the celebrated highwayman Nezumi Kozo, where incense is always kept burning.

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The cemetery at the back contains monuments to those who perished in the great fire of 1657, and in the great earthquake of 1855. In Honjō, Midori-cho, about 1 mile further on, is a temple containing painted images, almost life-size, of the Five Hundred Rakan (Go-hyaku Rakan), seated on shelves reaching from the bare earth of the floor to the rafters of the roof. They are from the chisel of Shōun, an artist of the 17th century. On some of them are pasted slips of paper with their names. The much larger image in the centre represents Shaka, with Anan on his r. hand and Kashō on his l. The white image in front of Shaka is Kwannon. The temple also contains a hundred small images of Kwannon.

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The present edifice dates only from 1889, when the images were removed from an older building in the district of Fukagawa, which had fallen into decay. Not far off stands the Shintō Temple of Temmangū, commonly known as Kameido, from a stone tortoise seated on a well in the grounds. Sugawara no Michizane is here worshipped under the title of Temman Daijizai, i.e., ‘the Perfectly Free and Heaven-Filling Heavenly Divinity.’ The temple grounds have been laid out in imitation of those at Dazaifu, the place of his exile. Passing in through the outer gate, the eye is

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first attracted by the wistarias trained on trellis, whose blossoms during the last week of April make Kameido one of the chief showplaces of Tōkyō. They grow on the borders of a pond called Shinji-no Ike, or ‘the Pond of the Word Heart,’ on account of a supposed resemblance to 心, the Chinese character for ‘heart;’ and one of the amusements of the visitors is to feed the carp and tortoises which it contains. A semicircular bridge leads over the pond to a large gate in Yatsu-mune-zukuri (that is, eight-roofed style), standing in front of the temple. Glass cases inside the gate contain the usual large images of Zuijin.

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Round the walls of the temple, hang small pictures on a gold ground of the ancient religious dances called Bugaku. Beyond a shed containing two life-size images of sacred ponies, is an exit by which the visitor can reach the Ume-yashiki, or Plum-Garden of Kameido, 4 cho distant. It is known as Gwaryōbai (lit. the Plum-trees of the Recumbent Dragon), and is a great show-place early in March, when the blossoms are all out. There are over 500 trees, all extremely old and partly creeping along the ground, whence the name.

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Most of the cut stones which stand about the grounds are inscribed with stanzas of poetry in praise of the flowers; and during the season similar tributes, written on paper, will be seen hung up on the branches. A few cho from here lies Mukōjima (see p. 87). The S.E. part of Tōkyō, consisting of the district of Fukagawa on the l. bank of the Sumida-gawa, is a maze of narrow streets, chiefly inhabited by the lower trading and artisan classes, and contains little for the sightseer. Joshinji, though the chief temple of the Nichiren sect in Tōkyō, is quite unpretentious, but there are some good carvings on the gates of the priests’ dwellings which line the narrow street leading up to it.

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In the court-yard is a large bronze image of Shaka supported on the shoulders of stone demons; and to the back, beyond the cemetery, a curious superstitious practice may be witnessed at the shrine of Shōgyō Bosatsu. The stone image of the saint stands in a little wooden shed hung round with small regularly cut bundles of straw. The faithful buy these at the gate, dip them in water, brush the idol with them, and then ladle water over his head, believing that this ceremony will ensure a favourable reply to their petitions. The image is constantly wet, showing how firm the belief is. The priests of the sect are unable to account for the origin of the usage. The Shintō temple of Hachiman, which dates from A.D.

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1668, is handsome, owing to former Buddhist influence. The walls and ceiling are decorated with paintings of birds and flowers, and there are also some pretty wood carvings. The ornamentation of the chancel is extremely rich, the ceiling being panelled, and gold profusely scattered about. There are likewise gold lions, and gold figures of the Sun-Goddess Amaterasu and of the Gods of Kasuga. Doves fly about the grounds, as is usual in temples dedicated to Hachiman. They are supposed to act as the god’s messengers,—strange messengers from the God of War!

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The district situated between the temple of Hachiman and that of Susaki-no-Benten is noted for its trade in timber, the town being here intersected by numerous canals communicating with the Okawa, down which come the timber-laden rafts from the inland provinces. The temple of Susaki no Benten (Susaki being the

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name of the projecting spit of land on which it is situated) dates from the latter part of the 17th century, at which time the ground on which it was erected had only recently been reclaimed. The temple itself is uninteresting; but on a clear day the view from a little stage built up in the grounds will repay a slight détour if the traveller happens to be in the neighbourhood. It is seen to still better advantage by walking along the embankment built after the ravages of the inundations and tidal waves of the eighth decade of the last century.

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Beyond the wide sweep of sea in front, stretches, l., in the blue distance the coast line of Shimōsa, while nearer to the spectator are the mountains of Kazusa and Bōshū, Nokogiri-yama being most conspicuous both in height and outline. To the r. towers Mt. Fuji, flanked on either side by the Ōyama and Hakone ranges, while far away to the North rises double-peaked Mt. Tsukuba from the midst of the plain. At low tide, which the Japanese consider the prettiest time, and especially if the season be spring, numerous pleasure boats, with singing-girls and other merry-makers, will be seen lazily floating about in the offing, watching the oystercatchers ply their trade.

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8.—TSUKIJI. On the way from the Shimbashi Terminus to the Foreign Concession in Tsukiji, several important modern buildings are passed:—l. the Fifteenth National Bank, r. the Imperial Department of Communications, and further on r. the Central Telegraph Office and the huge Patent Office, opposite to which is the Seiyōken Hotel. Behind the latter stands the Kabuki-za, one of the best theatres of the metropolis. The Naval Academy is seen to the r. beyond the canal. Still further to the r. is the Enryō-kwan, formerly the summer palace of the Shōguns, and used in more recent times as a place of entertainment for illustrious visitors.

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General Grant and Princes Albert Victor and George of Wales are amongst the personages who have received hospitality within its walls. The Enryō-kwan is also used once a year for an Imperial Garden party, at the season when the masses of double cherry-flowers are in bloom. The place is unfortunately not open to the general public. The enormous tiled roof to the l. is that of the Nishi Hongwanji temple, popularly called the Tsukiji Monzeki. Originally founded in 1658, and destroyed by fire in 1872, this temple was rebuilt in 1880. It was the first example of the partial adaptation of European architectural principles to a building essentially Japanese.

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With the exception of the brick walls and the common glass windows, it is almost a replica of the Higashi Hongwanji at Asakusa. The smaller edifice to the l. is a hall where sermons are preached. A large proportion of the buildings in the Foreign Concession is devoted to religious and educational purposes, testifying to the zeal of the various missionary bodies, whose members form the bulk of the population. The most striking places of worship are the Cathedral of the Protestant Episcopal Church of America and the Roman Catholic Cathedral. Another conspicuous building is the Club Hotel, formerly the American Legation, situated on the Bund facing the Sumida-gawa near its mouth.

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Beyond the river lies Ishikawa-jima, where stands the convict prison. The land is gaining rapidly on the water in this district, the whole spit opposite the Bund having been reclaimed within the last fifteen years. The view across the water on a fine day is very pretty.

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