From the temple courtyard the roof of the large and imposing modern palace can be seen. In the centre, and at either end of the triple-coloured roof, is one of those crown-shaped spires so common in all state and ecclesiastical buildings in Siam. It has been stated that "upon a nearer approach to the magnificent spectacle of Wat Prakow, so dazzling is the effect that it is hard to convince yourself that you are not actually standing before buildings set with precious stones." Now this is not by any means true. The temples of Buddha in Siam are like Buddhism itself, seen to the greatest advantage when distance has lent its proverbial enchantment. Even as the moral teaching of the great philosopher when viewed through the spectacles of Western professors, is a very different creed to that followed by the people, so the temples when seen through the golden mist of early morning from a distant point of view, are brilliant and beautiful beyond description, though on a nearer view, the perishable and paltry character of the material of which they are constructed destroys the appearance of magnificence, leaving, however, in the place of earlier impressions, a feeling of wonder at the marvellous skill of the people who can produce such striking effects from such tawdry material. Near to the gilded "prachadee" is the actual "bote" used by the king, surmounted by a similar spire, which is overlaid with sapphire-coloured plates of glass and porcelain; while a little distance away stands the larger temple, set in parts with mosaics of emerald green upon a gilt background. There are several smaller spires of ruby red, bright yellow, or snowy white, standing amongst this mass, whose tapering summits are exceedingly slender and graceful in form, though the raised flowers and decorations that surround their bases are made of nothing but common porcelain and glass. One really valuable "prachadee" is constructed of pure white marble, and stands upon a heavy base supported by seven elephants cast in bronze. In various places near the doors of the temple, or the gates in the walls surrounding the courtyard, there are a number of enormous, grotesque figures, some in helmets, and some in old-fashioned chimney-pot hats. They are evidently of foreign origin, and the sculptor has produced an extremely comical effect by so cutting the eyes as to give them an unmistakable leer or wink. They represent demons, and are supposed to guard the entrance to the sacred edifice. Each figure leans upon a gigantic staff, and gazes into the faces of all those who enter the courtyard or buildings. There are also griffins in stone, the representations of powerful kings who keep the world from being entirely captured by the spirits of evil. The stone lions are the emblems of Shakyamuni in his character as king of men and beasts. A large, bronze figure of the sitting Buddha rests opposite a row of these quaintly carved images of men and animals. It is seated upon a