rooves formed in the
framing of the partitions. Thus all the rooms can easily be thrown
together or laid open to the outer air in hot weather. All travellers
in Japan remark upon the impossibility of obtaining privacy in the
hotels in consequence of this.

The Shinto temples are approached through what might be termed an
archway, only that the arch does not enter into its composition. This
erection is called a Torii, and is thus described by Professor
Conder:[9]--"It is composed of two upright posts of great thickness,
each consisting of the whole trunk of a tree rounded, about 15 ft.
high, and placed 12 ft. apart. Across the top of these is placed a
wooden lintel, projecting considerably and curving upwards at the
ends. Some few feet below this another horizontal piece is tenoned
into the uprights, having a little post in the centre helping to
support the upper lintel." These erections occasionally occur in front
of a Buddhist temple, when they are built of stone, exactly imitating,
however, the wooden originals. This is interesting, as offering
another proof, were one needed, that the curious forms of masonry
exhibited in much of the work of the early nations, some of which has
been described, is the result of an imitation of earlier wooden forms.

The chief effect in the buildings of the Japanese is intended to be
produced by colour, which is profusely used; and they have attained to
a height of perfection in the preparation of varnishes and lacquers
that has never been equalled. Their lacquer is used all over their
buildings, besides forming their chief means of decorating small
objects. It is, however, beginning to be questioned whether the old
art of lacquering is not becoming lost by the Japanese themselves, as
the modern work appears by no means equal to the old. One curious form
of decoration, of which the Japanese are much enamoured, consists in
forming miniature representations of country scenes and landscapes;
waterfalls, bridges, &c., being reproduced on the most diminutive
scale. It is much to be feared that our small stock of knowledge of
ancient Japanese art will never be greatly increased, as the whole
country and the people are becoming modernised and Europeanised to
such an extent that it appears probable there will soon be little
indigenous art left in the country.

* * * * *

It has not been thought necessary to append to this chapter analyses
of the Eastern style