structions of monstrous colonnades, peristyles with
twisted columns, and endless ascents. Opposite the great gate is a kind
of altar of wood or stone, usually in the form of a cone reversed; on
this the idols are placed, mostly seated cross-legged. These idols are
of colossal stature, but their faces are fine and regular, except in the
preposterous length of the ears; they belong to the Caucasian type, and
are wholly distinct from the monstrous, diabolical physiognomies of the
Chinese Pou Ssa.

Before the great idol, and on the same level with it, is a gilt seat
where the living Fo, the Grand Lama of the Lamasery is seated. All
around the temple are long tables almost level with the ground, a sort of
ottomans covered with carpet; and between each row there is a vacant
space, so that the Lamas may move about freely.

When the hour for prayer is come, a Lama, whose office it is to summon
the guests of the convent, proceeds to the great gate of the temple, and
blows, as loud as he can, a sea-conch, successively towards the four
cardinal points. Upon hearing this powerful instrument, audible for a
league round, the Lamas put on the mantle and cap of ceremony and
assemble in the great inner court. When the time is come the sea-conch
sounds again, the great gate is opened, and the living Fo enters the
temple. As soon as he is seated upon the altar all the Lamas lay their
red boots at the vestibule, and advance barefoot and in silence. As they
pass him they worship the living Fo by three prostrations, and then place
themselves upon the divan, each according to his dignity. They sit
cross-legged; always in a circle.

As soon as the master of the ceremonies has given the signal, by tinkling
a little bell, each murmurs in a low voice a preliminary prayer, whilst
he unrolls, upon his knees, the prayers directed by the rubric. After
this short recitation, follows a moment of profound silence; the bell is
again rung, and then commences a psalm in double chorus, grave and
melodious. The Thibetian prayers, ordinarily in verse, and written in a
metrical and well-cadenced style, are marvellously adapted for harmony.
At certain pauses, indicated by the rubric, the Lama musicians execute a
piece of music, little in concert with the melodious gravity of the
psalmody. It is a confused and deafening noise of bells, cymbals,
tambourines, sea-conchs', trumpets, pipes, etc., each musician playing on
his instrument with a kind of ec