It increased. The forests began to wave, black clouds rose from the north, and, as they fleeted along, approached the moon whose light they shortly extinguished. A moment of darkness succeeded; the gust was chill and melancholy; it swept along the desert, and then subsiding, the vapours began to pass away, and the moon returned; the grandeur of the scene was renewed, and its imposing solemnity was increased by her presence. Inspiration was in every wind.
I followed some impulse, which drove me to the summit of the mountains before me; and there, casting a look on the whole extent of wild woods and romantic precipices, thought of the days of St. Bruno. I eagerly contemplated every rock that formerly might have met his eyes; drank of the spring which tradition says he was wont to drink of; and ran to every pine, whose withered appearance bespoke the most remote antiquity, and beneath which, perhaps, the saint had reposed himself, when worn with vigils, or possessed with the sacred spirit of his institutions. It was midnight before I returned to the convent and retired to my quiet chamber, but my imagination was too much disturbed, and my spirits far too active, to allow me any rest for some time.
THE TEMPLES OF HATCHIMAN
ΑΙΜÉ HUMBERT
The Temples of Hatchiman are approached by long lines of those great cedar-trees which form the avenues to all places of worship in Japan. As we advance along the avenue on the Kanasawa side, chapels multiply themselves along the road, and to the left, upon the sacred hills, we also come in sight of the oratories and commemorative stones which mark the stations of the processions; on the right the horizon is closed by the mountain, with its grottos, its streams, and its pine groves. After we have crossed the river by a fine wooden bridge, we find ourselves suddenly at the entrance of another alley, which leads from the seaside, and occupies a large street. This is the principal avenue, intersected by three gigantic toris, and it opens on the grand square in front of the chief staircase of the main building of the Temple. The precinct of the sacred place extends into the street, and is surrounded on three sides by a low wall of solid masonry, surmounted by a barrier of wood painted red and black. Two steps lead to the first level. There is nothing to be seen there but the houses of the bonzes, arranged like the side-scenes of a theatre, amid trees planted along the barrier-wall, with two great oval ponds occupying the centre of the square. They are connected with each other by a large canal crossed by two parallel bridges, each equally remarkable in its way. That on the right is of white granite, and it describes an almost perfect semicircle, so that when one sees it for the first time one supposes that it is intended for some sort of geometrical exercise; but I suppose that it is in reality a bridge of honour, reserved for the gods and the good genii who come to visit the Temple. The bridge on the left is quite flat, constructed of wood covered with red lacquer, with balusters and other ornaments in old polished copper. The pond crossed by the stone bridge is covered with magnificent white lotus flowers,—the pond crossed by the wooden bridge with red lotus flowers. Among the leaves of the flowers we saw numbers of fish, some red and others like mother of pearl, with glittering fins, swimming about in waters of crystal clearness. The black tortoise glides among the great water-plants and clings to their stems.
THE DAÏBOUDHS OF KAMAKOURA, JAPAN.
After having thoroughly enjoyed this most attractive spectacle, we go on towards the second enclosure. It is raised a few steps higher than the first, and, as it is protected by an additional sanctity, it is only to be approached through the gate of the divine guardians of the sanctuary. This building, which stands opposite the bridges, contains two monstrous idols, placed side by side in the centre of the edifice. They are sculptured in wood, and are covered from head to foot with a thick coating of vermilion. Their grinning faces and their enormous busts are spotted all over with innumerable pieces of chewed paper, which the native visitors throw at them when passing, without any more formality than would be used by a number of schoolboys out for a holiday. Nevertheless, it is considered a very serious act on the part of the pilgrims. It is the means by which they make the prayer written on the sheet of chewed paper reach its address, and when they wish to recommend anything to the gods very strongly indeed, they bring as an offering a pair of straw slippers plaited with regard to the size of the feet of the Colossus, and hang them on the iron railings within which the statues are enclosed. Articles of this kind, suspended by thousands to the bars, remain there until they fall away in time, and it may be supposed that this curious ornamentation is anything but beautiful.
Here a lay brother of the bonzes approached us, and his interested views were easily enough detected by his bearing. We hastened to assure him that we required nothing from his good offices, except access to an enclosed building. With a shake of his head, so as to make us understand that we were asking for an impossibility, he simply set himself to follow us about with the mechanical precision of a subaltern. He was quite superfluous, but we did not allow his presence to interfere with our admiration. A high terrace, reached by a long stone staircase, surmounted the second enclosure. It is sustained by a Cyclopean wall, and in its turn supports the principal Temple as well as the habitations of the bonzes. The grey roofs of all these different buildings stand out against the sombre forest of cedars and pines. On our left are the buildings of the Treasury; one of them has a pyramidal roof surmounted by a turret of bronze most elegantly worked. At the foot of the great terrace is the Chapel of the Ablutions. On our right stands a tall pagoda, constructed on the principle of the Chinese pagodas, but in a more sober and severe style. The first stage, of a quadrangular form, is supported by pillars; the second stage consists of a vast circular gallery which, though extremely massive, seems to rest simply upon a pivot. A painted roof, terminated by a tall spire of cast bronze, embellished with pendants of the same metal, completes the effect of this strange but exquisitely proportioned building.
All the doors of the buildings which I have enumerated are in good taste. The fine proportions, the rich brown colouring of the wood, which is almost the only material employed in their construction, is enhanced by a few touches of red and dragon green, and the effect of the whole is perfect;—add to the picture a frame of ancient trees and the extreme brilliancy of the sky, for the atmosphere of Japan is the most transparent in the world.
We went beyond the pagoda to visit a bell-tower, where we were shown a large bell beautifully engraved, and an oratory on each side containing three golden images, a large one in the centre, and two small ones on either side. Each was surrounded by a nimbus. This beautiful Temple of Hatchiman is consecrated to a Kami; but it is quite evident that the religious customs of India have supplanted the ancient worship;—we had several proofs of this fact. When we were about to turn back we were solicited by the lay brother to go with him a little further. We complied, and he stopped us under a tree laden with ex-votos, at the foot of which stands a block of stone, surrounded by a barrier. This stone, which is probably indebted to the chisels of the bonzes for its peculiar form, is venerated by the multitude, and largely endowed with ex-voto offerings. Like all peoples of the extreme East the Japanese are very superstitious; a fact of which we had abundant evidence on this and other occasions.