Moreover, for people accustomed only to such simple architecture as that of the Shinto miya, the new temples erected by the Buddhist priests must have been astonishments. The colossal Chinese gates, guarded by giant statues; the lions and lanterns of bronze and stone; the enormous suspended [200] bells, sounded by swinging-beams; the swarming of dragon-shapes under the caves of the vast roofs; the glimmering splendour of the altars; the ceremonial likewise, with its chanting and its incense-burning and its weird Chinese music,--cannot have failed to inspire the wonder-loving with delight and awe. It is a noteworthy fact that the earliest Buddhist temples in Japan still remain, even to Western eyes, the most impressive. The Temple of the Four Deva Kings at Osaka--which, though more than once rebuilt, preserves the original plan--dates from 600 A.D.; the yet more remarkable temple called Horyuji, near Nara, dates from about the year 607. Of course the famous paintings and the great statues could be seen at the temples only; but the Buddhist image-makers soon began to people even the most desolate places with stone images of Buddhas and of Bodhisattvas. Then first were made those icons of Jizo, which still smile upon the traveller from every roadside,--and the images of Koshin, protector of highways, with his three symbolic Apes,--and the figure of that Bato-Kwannon, who protects the horses of the peasant,--with other figures in whose rude but impressive art suggestions of Indian origin are yet recognizable. Gradually the graveyards became thronged with dreaming Buddhas or Bodhisattvas,--holy guardians of the dead, throned upon lotos-flowers of [201] stone, and smiling with closed eyes the smile of the Calm Supreme. In the cities everywhere Buddhist sculptors opened shops, to furnish pious households with images of the chief divinities worshipped by the various Buddhist sects; and the makers of ihai, or Buddhist mortuary tablets, as well as the makers of household shrines, multiplied and prospered.