[Names and terms must be looked up in the Glossary, where references to pages of the present book are separated by a dash from the explanation.] REMARKS ON THE ILLUSTRATIONS OF THE GOSPEL OF BUDDHA. Upon the task of illustrating _The Gospel of Buddha_, I have spent three years, the first of which was entirely devoted to preparation. By the kind assistance of Dr. Hans Schnorr von Carolsfeld, Director of the Royal Court and State Library at Munich, I was enabled to make very extensive use of the treasures of this institution, and I am under great obligations to him for the courtesies extended to me. Above all I endeavored to obtain a solid foundation for my work by acquiring a clear conception of the personality of the Buddha from religious, historical and artistic standpoints and by familiarizing myself with all the Buddhist dogmas, symbols and religious observances. Detailed studies of Indian costume, armor, decoration, architecture and the arrangement of dwellings and gardens, as well as the fauna and flora of the country, were likewise indispensable. Not only modern documents, explorers' reports and photographs of ancient ruins provided me with available material, but also some old Dutch works of the seventeenth century. The two main sources of our knowledge of ancient Buddhist art will always remain the monuments of Gandhāra, and the cave dwellings of Buddhist monks in Ajantā and other places. The former bear witness to the extraordinary influence of Greek art on Buddhism; and the latter are rich in wonderful fresco paintings of the classical period of Buddhist art. A description of all the caves as well as a selection of the best mural paintings in colored pictures are to be found in Griffith's elegant work _The Paintings in the Buddhist Cave Temples of Ajanta_[1] and some reproductions from it have been made further accessible in Dr. Carus's _Portfolio of Buddhist Art_.[2] The two great expositions in Munich, "Japan and Eastern Asia in Art" and "Expositions of the Masterpieces of Mohammedan Art," 1910, were very instructive to me from the point of view of art history, containing invaluable material conveniently arranged from the great museums, royal treasures and private collections from London, Paris, Berlin, Vienna, St. Petersburg, Moscow, and Cairo. In the former the great wave of the marvelous Buddhist faith which had been flowing towards China for two millenniums and which had brought new life from China to Japan was evidenced in many rare pieces. Yet almost more fruitful for my purpose was the exposition of Mohammedan art. It displayed wonderful Persian and Indian book-making and lacquer work, tapestries, ceramics, fabrics, armor and metal work. To be sure these were exclusively of Mohammedan manufacture, but many large museums and institutions (native and foreign), collectors and explorers had sent also chests of Buddhist works, which, not falling within its compass, had been excluded from the exhibition, but were