The Emperor Hui-Tsung (1101-1126) fell under the influence of a Taoist priest named Lin Ling-Su[676]. This young man had been a Buddhist novice in boyhood but, being expelled for misconduct, conceived a hatred for his old religion. Under his influence the Emperor not only reorganized Taoism, sanctioning many innovations and granting many new privileges, but also endeavoured to suppress Buddhism, not by persecution, but by amalgamation. By imperial decree the Buddha and his Arhats were enrolled in the Taoist pantheon: temples and monasteries were allowed to exist only on condition of describing themselves as Taoist and their inmates had the choice of accepting that name or of returning to the world. But there was hardly time to execute these measures, so rapid was the reaction. In less than a year the insolence of Lin Ling-Su brought about his downfall: the Emperor reversed his edict and, having begun by suppressing Buddhism, ended by oppressing Taoism. He was a painter of merit and perhaps the most remarkable artist who ever filled a throne. In art he probably drew no distinction between creeds and among the pictures ascribed to him and preserved in Japan are some of Buddhist subjects. But like Hsüan Tsung he came to a tragic end, and in 1126 was carried into captivity by the Kin Tartars among whom he died. Fear of the Tartars now caused the Chinese to retire south of the Yang-tse and Hang-chow was made the seat of Government. The century during which this beautiful city was the capital did not produce the greatest names in Chinese history, but it witnessed the perfection of Chinese culture, and the background of impending doom heightens the brilliancy of this literary and aesthetic life. Such a society was naturally eclectic in religion but Buddhism of the Ch'an school enjoyed consideration and contributed many landscape painters to the roll of fame. But the most eminent and perhaps the most characteristic thinker of the period was Chu-Hsi (1130-1200), the celebrated commentator on Confucius who reinterpreted the master's writings to the satisfaction of succeeding ages though in his own life he aroused opposition as well as enthusiasm. Chu-Hsi studied Buddhism in his youth and some have detected its influence in his works, although on most important points he expressly condemned it. I do not see that there is much definite Buddhism in his philosophy, but if Mahayanism had never entered China this new Confucianism would probably never have arisen or would have taken another shape. Though the final result may be anti-Buddhist yet the topics chosen and the method of treatment suggest that the author felt it necessary to show that the Classics could satisfy intellectual curiosity and supply spiritual ideals just as well as this Indian religion. Much of his expositions is occupied with cosmology, and he accepts the doctrine of world periods, recurring in an eternal series of growth and decline: also he teaches