state of perpetual fear and folly. We then went to see the Daïboudhs, which is the wonder of Kamakoura. This building is dedicated to the Daïboudhs, that is to say, to the great Buddha, and may be regarded as the most finished work of Japanese genius, from the double points of view of art and religious sentiment. The Temple of Hatchiman had already given us a remarkable example of the use which native art makes of nature in producing that impression of religious majesty which in our northern climates is effected by Gothic architecture. The Temple of Daïboudhs differs considerably from the first which we had seen. Instead of the great dimensions, instead of the illimitable space which seemed to stretch from portal to portal down to the sea, a solitary and mysterious retreat prepares the mind for some supernatural revelation. The road leads far away from every habitation; in the direction of the mountain it winds about between hedges of tall shrubs. Finally, we see nothing before us but the high road, going up and up in the midst of foliage and flowers; then it turns in a totally different direction, and all of a sudden, at the end of the alley, we perceive a gigantic brazen Divinity, squatting with joined hands, and the head slightly bent forward in an attitude of contemplative ecstasy. The involuntary amazement produced by the aspect of this great image soon gives place to admiration. There is an irresistible charm in the attitude of the Daïboudhs, as well as in the harmony of its proportions. The noble simplicity of its garments and the calm purity of its features are in perfect accord with the sentiment of serenity inspired by its presence. A grove, consisting of some beautiful groups of trees, forms the enclosure of the sacred place, whose silence and solitude are never disturbed. The small cell of the attendant priest can hardly be discerned among the foliage. The altar, on which a little incense is burning at the feet of the Divinity, is composed of a small brass table ornamented by two lotus vases of the same metal, and beautifully wrought. The steps of the altar are composed of large slabs forming regular lines. The blue of the sky, the deep shadow of the statue, the sombre colour of the brass, the brilliancy of the flowers, the varied verdure of the hedges and the groves, fill this solemn retreat with the richest effect of light and colour. The idol of the Daïboudhs, with the platform that supports it, is twenty yards high; it is far from equal in elevation to the statue of St. Charles Borromeo, which may be seen from Arona on the borders of Lake Maggiore, but which effects the spectator no more than a trigonometrical signal-post. The interiors of these two colossal statues have been utilized. The European tourists seat themselves in the nose of the holy cardinal. The Japanese descend by a secret staircase into the foundations of their Daïboudhs, and there they find a peaceful oratory, whose altar is lighted by a ray of sunshine