The appearance of the flowers themselves quite amazed us. We could never have conceived that in these deserts, amongst a half savage people, artists of such eminent merit could have been found. From the paintings and sculptures we had seen in various Lamaseries, we had not in the slightest degree been led to anticipate the exquisite finish which we had occasion to admire in the butter works. The flowers were bas-reliefs, of colossal proportions, representing various subjects taken from the history of Buddhism. All the personages were invested with a truth of expression that quite surprised us. The features were full of life and animation, the attitudes natural, and the drapery easy and graceful. You could distinguish at a glance the nature and quality of the materials represented. The furs were especially good. The various skins of the sheep, the tiger, the fox, the wolf, etc., were so admirably rendered, that you felt inclined to go and feel them with the hand, and ascertain whether, after all, they were not real. In each bas-relief you at once recognised Buddha, his face, full of nobleness and majesty, appertained to the Caucasian type; the artists conforming therein to the Buddhist traditions, which relate that Buddha, a native of the Western Heaven, had a complexion fair, and slightly tinged with red, broad, full eyes, a large nose, and long, curling, soft hair. The other personages had all the Mongol type, with the Thibetian, Chinese, Si-Fan, and Tartar shadings, so nicely discriminated that, without any reference whatever to the costume, you recognised at once to what particular tribe each individual belonged. There were a few heads of Hindoos and negroes, excellently represented. The latter excited a good deal of curiosity among the spectators. These large bas-reliefs were surrounded with frames, representing animals and flowers, all in butter, and all admirable, like the works they enclosed, for their delicacy of outline and the beauty of their colouring. On the road which led from one temple to another, were placed, at intervals, small bas-reliefs representing, in miniature, battles, hunting incidents, nomadic episodes, and views of the most celebrated Lamaseries of Thibet and Tartary. Finally, in front of the principal temple, there was a theatre, which, with its personages and its decorations, were all of butter. The _dramatis personæ_ were a foot high, and represented a community of Lamas on their way to solemnize prayer. At first, the stage is empty, then, a marine conch is sounded, and you see issuing from two doors, two files of minor Lamas, followed by the superiors in their state dresses. After remaining, for a moment, motionless on the stage, the procession disappears at the sides, and the representation is over. This spectacle excited general enthusiasm; but, for ourselves, who had seen rather better mechanism, we regarded these mannikins, that moved on the stage and then moved off it without stirring