But the Japanese never seems to have been overmuch concerned respecting his dwelling. To comprehend the beauty of Japanese architecture, to see it in its purity and to realise all the grandeur that can be crowded into it, it is necessary to study it in the religious edifices of the country. Plainness is the characteristic of the Shinto temple; built as a rule of pine, it has a thatched roof. The fact of its being an edifice of the Shinto religion is self-evident from the torii which stand before every Shinto temple. There are no idols or exterior ornamentation of any kind. The walls are left untouched by either the painter or the lacquerer. In the Buddhist temples, on the contrary, the Japanese artist has had afforded him full scope for the exercise of his ornamental ingenuity. Numerous courtyards have to be traversed before reaching the temple itself. These courtyards contain many small buildings, bronze or stone lanterns, belfries, pavilions, pagodas, &c., &c., all elaborately decorated. Amongst the supplementary buildings connected with, but occasionally independent of, Buddhist temples, none is more interesting than the pagoda so intimately associated with Buddhism in every part of the Far East and so typically Oriental in its architecture. What may have been the precise origin of these five- or seven-storied erections, for what purpose they were intended, or what symbolism, if any, they were the expression of, is now largely a matter of conjecture. No one who has visited the East can at any rate have failed to be impressed by them. In Japan where, save the lower storey, the whole is lacquered red, they are a striking feature of the country. The lower storey, by the way, is decorated with numerous painted carvings. Topping the whole building is the twisted spire of bronze.