Now turn to the ancient Buddhist edifices. Spence Hardy (_Eastern Monachism_, p. 230) says: "The whole interior, whether rock, wall, or statue, is painted in brilliant colours, but yellow much predominates. In one place the artist has attempted to depict part of the early history of the island, beginning with the voyage of Wijaya, which is represented by a ship with only the lower mast, and without sails; alongside are fishes as large as the vessel. In representing the buildings of the great dagobas of Anuradhapura, the proportions are no better preserved and these artificial mountains appear to be little larger than the persons employed in finishing them.... The ornamental paintings, where proportion was not of paramount importance, are very neat, and all the colours appear to be permanent and bright." This lack of proportion in the human figures is very noticeable at Chichen, the figures often entirely dwarfing the huts in which they are supposed to be standing. Next, let us take the isolated example of decoration, about which there has been much controversy, the Red Hand. We have before spoken of this strange mark on the walls of Mayan buildings. It looks like a hand that has been dipped in a reddish-brown pigment, almost blood-colour, and then pressed upon the wall. This in many cases it undoubtedly is, for the actual lines of the hand can be discerned. Now Le Plongeon, in his _Vestiges of the Mayans_, was the first, we believe, to call attention to the fact that _The New York Herald_ of April 12th, 1879, in describing General Ulysses S. Grant's visit to Ram Singh, Maharajah of Jeypoor, says, "We passed small temples, some of them ruined, some others with offerings of grains or fruits or flowers, some with priests and people at worship. On the walls of some of the temples we saw the marks of the human hand as though it had been steeped in blood and pressed against the white wall. We were told that it was the custom, when seeking from the gods some benison, to note the vow by putting the hand into a liquid and printing it on the wall. This was to remind the gods of the vow and prayer, and if it came to pass in the shape of rain, or food, or health, or children, the joyous devotee returned to the temple and made offerings."