A moonlight night is always chosen for the "crossing of the bridges" outing, a rather sensible precaution when one sees what the bridges are like. There are the stone supports of course, and over these huge flat broad stones on which one treads. The width of the bridges is generally about six feet, but no parapet or railing of any kind is provided for the safety of the wayfarer. Through age and weather, these stones have been considerably worn out, and are here and there disconnected, besides being slippery to an extreme degree; so that even in broad daylight, one has to keep all his wits about him, in this sort of tight-rope performance, not to find himself landed in the river down below, in which, however, there is no water running. Altogether, the days in which the men of Cho-sen enjoy liberty at night are five. The last day of the year is probably the one when the larger crowds can be seen hurrying along through the streets, for a custom prevails among the Coreans to visit during that night and the following one, all one's relations and best friends, congratulations and good wishes being freely exchanged and presents of sweets brought and gracefully received. New Year's night is also a night of independence, but the greater number of the male community are so "well on" with wine-drinking and excitement, that staying at home is generally deemed advisable. There are two free nights, besides, on the fourteenth and fifteenth days of the first moon, and on one of the days at "half-year" in the sixth moon. That is all. [Illustration: THE MARBLE PAGODA] At no great distance from the "big bell," down a tortuous little lane, we come to what is undoubtedly a very ancient work of art. This is a pagoda, made of solid marble, and adorned with beautiful carvings all the way up to the top. To me this pagoda seemed to be of Chinese origin, but, though much speculation has been exercised in Seoul as to how so strange a monument came to be placed in the Corean capital, no reliable data, or facts that might be considered of historical value, have as yet been forthcoming to explain satisfactorily its presence there. Beyond wondering at its antiquity, therefore, and admiring the skilful bas-relief upon it, there is little more for us to do; so, moving out of the courtyard in which this pagoda is situated, we proceed to inspect another monument, equally curious from an archaeological point of view.