Notwithstanding all this, they are no further advanced in architecture than they were two thousand years ago, or, indeed, in hardly any of the arts. At the same time the Chinese are remarkably skilled in porcelain manufacture, silk weaving, embroidery, colour printing, ivory and jade carving, enamelling, metal-working, casting, and decorative painting. Their ornament is very conventional and rich in colouring, but their ornamental forms are limited, and their decoration so full of repetition that it becomes very monotonous when judged by a European standard. The architecture of Japan differs very slightly from that of China, as it is either an offshoot from the older civilisation of China, or has been derived from the same sources, through the Buddhist religion. Some changes have occurred in the architecture of Japan in recent years owing to the more extended use of stone in their buildings, which has been brought about by their interchange of ideas with Western nations. Their Buddhist temples are similar to the Chinese, with their curious turned-up roofs, but the Shinto temples are usually covered with roofs that have great projecting eaves, which do not turn up at the angles. The porches or gateways (Torii) to the temples are built in stone, but in imitation of their earlier wooden construction; they are of the pillar-and-beam order, and recall somewhat the construction, on a smaller scale, of the “torans” or gateways of the Sanchi Tope in India (Fig. 325). The Japanese carve their wooden rafters, beams, posts, lintels, and stringcourses very skilfully, with conventional ornament, dragons, and grotesque animals. The better class of Japanese dwellings are usually of two stories; the lower story has a verandah, and the upper one is recessed back, and is smaller than the lower, which produces a pleasing effect. Their walls are, like the Chinese, more or less movable partitions. Japanese ornament and industrial art (which will be treated in another place) is more virile, has more variety, and is more artistic in execution, though governed less by architectural arrangement, than the art of the Chinese. The Japanese are, however, every day becoming more impregnated with Western ideas, and, as a consequence, their wonderful artistic feeling and native refinement of design, execution, and colouring are in a fair way of losing those seductive qualities that hitherto have characterized the artistic productions of these interesting people. CHAPTER XVII. EARLY CHRISTIAN AND BYZANTINE ARCHITECTURE.