If you see a grove of trees before you on your ride, mangoes and tamarinds in clusters, with palms nodding overhead, and great broad-leaved plantains and flowering shrubs below, you may be sure that there is a monastery, for it is one of the commands to the monks of the Buddha to live under the shade of lofty trees, and this command they always keep. They are most beautiful, many of these monasteries--great buildings of dark-brown teak, weather-stained, with two or three roofs one above the other, and at one end a spire tapering up until it ends in a gilded 'tee.' Many of the monasteries are covered with carving along the facades and up the spires, scroll upon scroll of daintiest design, quaint groups of figures here and there, and on the gateways moulded dragons. All the carvings tell a story taken from the treasure-house of the nation's infancy, quaint tales of genii and fairy and wonderful adventure. Never, I think, do the carvings tell anything of the sacred life or teaching. The Burmese are not fond, as we are, of carving and painting scenes from sacred books. Perhaps they think the subject too holy for the hand of the craftsman, and so, with, as far as I know, but one exception in all Burma--a pagoda built by Indian architects long ago--you will look in vain for any sacred teaching in the carvings. But they are very beautiful, and their colour is so good, the deep rich brown of teak against the light green of the tamarinds, and the great leaves of the plantains all about. Within the monastery it will be all bare. However beautiful the building is without, no relaxation of his rules is allowed to the monk within. All is bare: only a few mats, perhaps, here and there on the plank floor, a hard wooden bed, a box or two of books. At one end there will be sure to be the image of the teacher, wrought in alabaster. These are always one of three stereotyped designs; they are not works of art at all. The wealth of imagination and desire of beauty that finds its expression in the carved stories in the facades has no place here at all. It would be thought a sacrilege to attempt in any way to alter the time-honoured figures that have come down to us from long ago. Over the head of the image there will be a white or golden umbrella, whence we have derived our haloes, and perhaps a lotus-blossom in an earthen pot in front. That will be all. There is this very remarkable fact: of all the great names associated with the life of the Buddha, you never see any presentment at all.