They are enlarged replicas of the primeval wooden hut described above, having rafters with their upper ends crossed; thatched or shingled roof; boarded floors, and logs laid on the roof-ridge at right angles for the purpose of binding the ridge and the rafters firmly together. A thatched roof is imperative in the orthodox shrine, but in modern days tiles or sheets of copper are sometimes substituted. At Ise, however, no such novelties are tolerated. The avenue of approach generally passes under a structure called _torii_. Originally designed as a perch for fowls which sang to the deities at daybreak, this torii subsequently came to be erroneously regarded as a gateway characteristic of the Shinto shrine. It consists of two thick trunks placed upright, their upper ends mortised into a horizontal log which projects beyond them at either side. The structure derives some grace from its extreme simplicity. _Textile Fabrics and Embroidery._--In no branch of applied art does the decorative genius of Japan show more attractive results than in that of textile fabrics, and in none has there been more conspicuous progress during recent years. Her woven and embroidered stuffs have always been beautiful; but in former times few pieces of size and splendour were produced, if we except the curtains used for draping festival cars and the hangings of temples. Tapestry, as it is employed in Europe, was not thought of, nor indeed could the small hand-looms of the period be easily adapted to such work. All that has been changed, however. Arras of large dimensions, showing remarkable workmanship and grand combinations of colours, is now manufactured in Kioto, the product of years of patient toil on the part of weaver and designer alike. Kawashima of Kioto has acquired high reputation for work of this kind. He inaugurated the new departure a few years ago by copying a Gobelin, but it may safely be asserted that no Gobelin will bear comparison with the pieces now produced in Japan.