The marble pagoda is at the same time the most notable existing monument of Buddhism in Korea and the most interesting art-object in Seoul. It came, however, from abroad; tradition connects its gift with a Mongol princess who, after the death of Kublai Khan, came to Korea in 1310 to become the queen-consort of King Chung-sun. It was brought in a junk from China and at first erected in the grounds of a temple in the little town of Hanyang—the predecessor of Seoul on the same site; for the capital of the present dynasty was not then built. The temple grounds were beautified in its honor; roads were constructed leading to it; and a bridge was built over a stream running near by. But the Korean inevitable happened to it—the fate meted out to all that shows signs of order, industry, or art, when not of immediate selfish interest to the rulers of Korea. The roads, encroached upon by surrounding hovels, became foul and narrow alleys; a squatter built his straw-thatched hut about it; and the stream became the main sewer of the city, which is cleaned only by the downpour of the summer rains. Thus, as says our chronicler: “The gift to Korea of one of the mighty Mongol Khans, whose arms had literally shaken the world, became the impedimenta of a Korean coolie’s backyard, sixteen by twenty feet square!” What wonder, however, in a land where court officials and palace hangers-on do not hesitate to-day to steal the screens, and other presents from foreign monarchs and plutocrats, out from under His Majesty’s very eyes.[2] The pagoda itself, which has now been cleared from the clutter of huts and made the central object in Seoul’s first attempt at the beginnings of a public park, deserves a brief description. It is of white marble, much stained by time, war, and neglect, and was originally thirteen stories in height; although only ten of these are now standing, while the upper three have been removed and rest beside it on the ground. The base and first six stories have twenty sides; the remainder are squares. Each story is symmetrically diminished in size; some have galleries with curved eaves and upturned corners. The ornamentation is exceedingly complicated and abstruse in its symbolism and suggestiveness. There are sculptured upon the flat surfaces processions of tigers, dragons, men on foot and on horseback, teachers discoursing in groves, pictures taken from the traditional life of Buddha, and various bas-reliefs of different Buddhas. The lower stories are composed of several blocks of carved stone, but the smaller and upper stories are monoliths.