On the opposite wall another great cartoon represents the Hell of the Buddhists, with demons whose hideous heads are those of fabulous beasts and creeping things. As a work of imagination and force this is worthy to be the companion of the Birth of Buddha. The roof is painted as a firmament,--stars in a blue ground; and here it is that the charm of pure feeling and noble treatment is most apparent. With five colors the artist has produced all the variety we see. No cast shadows are shown, the forms themselves are but partially shaded, yet wonderful harmony and beauty pervade the whole. All honor to Nai Dang! who alone, amid the national decay of art and culture, preserved this germ of glorious life and strength, wrapped in his own obscure, neglected life! The practice of decorating walls and ceilings with paintings may be traced to a remote period in the history of Siamese art. In an ancient temple at Lophaburee is a curious picture, of less merit than those of Nai Dang, representing the marriage of Buddha with the princess Thiwadi, beside many of the transmigrations of the Buddhas; and there are elsewhere one or two pictures well worthy of notice, by masters whose names have not been kept in remembrance. Thus art in Siam has degenerated for want of kind, fostering patrons, and faithful, sympathetic chroniclers, till it has become a thing of mere tools and technics. Nevertheless, they still paint with some cleverness on wood, cloth, parchment, ivory, and plastic material, as well as on gold and silver,--a sort of enamelling. They also retain a fair knowledge of effect in fresco, tracing the outline on the wet ground, and laying on the color in a thin glue; in some of their later work of this kind that I have seen, the idea of the designer is expressed with much vigor. Their mosaics, executed in colored porcelain of several varieties, glass of all kinds, mother-of-pearl, and colored marbles, represent chiefly flowers and sprays on a brilliant ground. The most remarkable work of this kind is, I imagine, that which is lavished on the temple Watt P'hra Këau,--the walls, pillars, windows, roofs, towers, and gates being everywhere overlaid with mother-of-pearl and ivory, and profusely gilded. The several façades are likewise inlaid with ivory, glass, and mother-of-pearl, fixed with cement in the mortar, which serves as a base. In all cases these works are characterized by a touching simplicity, which seems to struggle through much, that is obscure and illegible to get nearer to nature and truth. Most of the tiles employed in the roofing of temples and palaces are colored and gilt. [Illustration: SPIRE OF THE TEMPLE WATT-POH.]