the most ornate in China. Burmese Buddhists brought their art influence thus far north, and under patronage of the Ming emperors cast it up like a pearl wrecked upon a barren shore; for the Manchu, who succeeded in the dynasty, is not an architect nor an artist. He has had to call in Chinese, Indian, Persian, Mohammedan and Jesuit architects from time to time to adorn his capitals and his graveyards at Mukden and Peking. There are towering, priceless bronze censers; stone and metal tablets; delightful octagonal marble mausoleums with circular second stories, topped with conic fluted roof, which is copied from the perfect act of the incomparable blue Temple of Heaven, and like the second story of the divinely beautiful choragic monument of Lysicrates at Athens. In his book, _The Chinese_, the author has referred to many other similarities between Greek and Chinese art and architecture, which are as wonderful as the dissimilarities. The ponderous gate forts, Manchu Drum and Ming Bell towers, with the largest bells in the world, sixteen feet high and nine inches thick, and the delightful compound or palace gates, are notable. The Buddhists have bell and statue foundries in the Tartar city, and there are potteries for dainty cloisonné. There are said to be some lost Jewish Chinese at Peking, as at Kaifong. They are now butchers, and worship with the Mohammedans, having lost nearly all their religious, if not their phrenological distinction long ago. What proof is stronger that the phylacteries of any conviction should be worn day and night on the forehead, as well as engraven on the heart, “lest we forget”. The trees and lakes of the city and suburbs are conspicuous, because all Chinese buildings, except pagodas, are not over two stories in height, and do not dwarf the lovely landscape.