tion of masonry. From the roof swings a beam, which is used to strike the
bell which hangs within. To the left is a low shed covering six small stone
images of deified heroes, the flowers and coins lying before whioh indicate
the worship of devotees. As the visitor advances he passes under a pavilion
built over the pathway, and finds within various offerings, some paintings,
coarsely executed, of junks and shipwrecks, a bow or two, and scores of
queues, cut off by shipwrecked sailors, and hung up as testimonials of gratitude
for the preservation of their lives.
Leaving the pavilion the visitor reaches a flight of stone steps beyond,
which lead to the principal hall, which is elevated some six feet above the
ground. Two stone lions, whose small heads and enormous ungainly bodies
show that the artist was equally unacquainted with the grace of art and the
truth of nature, guard the entrance. The porch is sustained by posts which
are carved with grotesque representations of tigers and elephants’ heads, and
other adornments, showing neither skill of hand nor beauty of design.
The temple itself is constructed of wood with a covering of thatch. The
interior is not, like the Buddhist monasteries, supplied with sliding panels,
but contains two compartments— the main hall and an inner shrine, partitioned
by a latticed bamboo screen. Within the latter is the image of
Hachiman, the deified hero to whom the temple is dedicated. Standing in a
niche, on either side, is the figure of an attendant dressed in ancient J apáñese
official costume, armed with a bow, as if awaiting the orders, as in life,
of their superior. Before the god-like Hachiman there is the usual variety
of devotional offerings. A large number of paintings of no great artistic
skill, a frame containing the representation of a pagoda constructed of copper
cash, a sword, bow and arrows, and a subscription list of at least thirty
feet in length, hung from the walls of the shrine. This gigantic subscription
list contains the names and donation of the contributors towards the expenses
of the temple services.- The Japanese priests find, we suppose, as we
fear it is sometimes found elsewhere, that an imposing display of the munificence
of their benefactors is a useful reminder of duty to the benevolent,
and a great encouragement of generosity. The idol of Hachiman is honored
annually with a festival, termed matzouri, which occurs on the fifteenth day
of the eighth month, when the subscribers are expected to pay up the amount
of their contributions, for which their names are down upon the enormous
list. Before the image there is a box provided for the alms of those who are
too modest to publish their names, or whose donations are too small to make
much of a figure on paper.
As the Japanese structures are unpainted, the wood work soon turns
brown and decays, requiring frequent repair and removal. There is always
a sort of guardian or superintendent living on the premises, whose duty it is
to keep in order the temple and grounds, and most of them are creditable
evidences of the care of the overseers. There are, however, some of these
establishments which show either a careless superintendence or a low state
of the exchequer, for several show signs of ruin and neglect.
In addition to the one great Sintoo temple, there are various smaller
shrines of the same faith dedicated to certain deified heroes, whose services
are called into requisition by those of some particular occupation, or on the
ooeasion of a special emergency. The sites of these humbler places of worship
have been picturesquely selected on the acclivities, or the summits of
the wooded hills which bound the town of Simoda landward. The pathways
which lead ' to them are handsomely constructed, often with causeways,
bridges of a single Roman arch, and flight of steps, all of stone, carefully
sculptured and substantially built. Various gateways, guarded by
stone statues of lions, or sometimes merely by pillars, upon which an inscription
warns off intruders, divide at intervals the approach, while the
sides of the avenues are shaded with fine trees of vigorous growth and abundant
foliage. „Some of the temples are so embosomed in groves, that they
are completely hidden from the sight, until their shaded thresholds are
reached unexpectedly by the stranger. One of these especially is noticed for
the beauty of its position and the perfection of its structure. I t was particularly
devoted to a patron saint of the sailors, and was called by the Americans
“ the mariners’ temple,” and those engaged in occupations connected
with the sea constantly resort there, to invoke the aid of, or to return thanks
to the enshrined deity. Groups of fishermen with their baskets laden with the
successful hauls of the day gathered within the precincts of the sacred place,
and gratefully symbolized, according to prescribed form, the' gratitude of
their hearts. Shipwrecked mariners prostrated themselves before the idol
and fulfilled their vows by the sacrifice of their queues, and other exercises
of self-imposed penance, which they had pledged for their lives in the agony
of impending danger. Within the shade of the grove boatmen and fishermen
were busy repairing their nets, and surrounded with their long oars, their
baskets, and all the paraphernalia of their business, seemed to be invoking
a blessing upon their labors, and propitiating the deity for good luck to the
next day’s fishing. The mariners’ temple is one of the handsomest structures
in Simoda. A solid stone causeway, leading over an arched bridge, with a
low, well constructed wall on either side, leads to the steps of the building.
The temple is built in the usual style, with a projecting roof of tiles ornamentally
arranged in cornices of flowers and graceful scrolls, and supported
by lacquered pillars. Over the doorway there is a fine specimen of carved
wood work, representing the sacred crane, on the wing, symbolizing as it
were the unsettled life of the mariner. The body of the building is closed
partly with wall and partly with oiled paper casements. The usual stone
lantern is found on the left, and from the door hangs a straw rope, which
being connected with a bell inside, is pulled by the devotee to ring up thé