The frescoes at the Arakan pagoda in Mandalay, representing the eight hells of Buddhism, are for many reasons a curious study. Those pictures are more of a success from the standpoint of dogmatic theology than from that of high art. The scenes depicted are realistic and definite beyond any manner of doubt. The artist, one would think, had made up his mind to be very “faithful” with us, and to shrink not from depicting what he considered the truth on the subject. Human beings are there seen writhing in torturing fire, fixed on thorns, torn by dogs, dragged by black monsters in human form, thrown by them into torments with pitchforks, or starving by inches, with every bone in their bodies showing, and with faces of unutterable woe. One wretch is represented attempting to climb a tree, his brains being picked out by a bird from above, and his feet being torn off by dogs from beneath; another is seated on the ground, while two men are sawing him in halves, right through the head downwards, the blood all the while flowing in gallons! In one instance, the head, having been entirely severed from the body, is looking on in consternation at the rest of the body being chopped up. In the matter of sculpture, the numerous marble images of Gautama (Buddha) show considerable ability in execution, especially in the faces, which show regularity of features and true likeness to the human face, as well as the correct expression of calm meditation appropriate to the Buddha; but there is much room for improvement in the general design, and for accuracy and variety in the various details. But we must remember that the sculptor of a Gautama is bound down by conventional canons of taste as to the postures, and as to the expression of the face, which he may not depart from. In wood-carving, where there is scope for taste and fancy, we get from the Burman really wonderful results. There is nothing in which they excel more than in this, whether it be in the way of small delicate work in picture frames, brackets, and other articles of small and beautiful workmanship, or in the numerous elaborate adornments of the monastery buildings. Many of the more noted monasteries are quite a study of sumptuous carving in teak wood, the whole building in many cases being one mass of scrolls and decorations, with many well-executed figures of men, cattle, horses and supernatural creatures. In the case of some monasteries whole histories are depicted in the carvings.