562 ANNUAL REPORT SMITHSONIAN INSTITUTION, 1911. 
Niagara Falls, and probably had a similar origin—from a waterfall. 
Pilgrims visit this place only once a year, but then in large numbers. 
The few priests generally live alone, shut in from the world, and thus 
become hermits. Many of them live in small huts or caves some 
distance from the monastery, as is still done to-day all over China 
(pl:38. fig. 1). 
It therefore seemed natural that the eighteen disciples of Buddha, 
the Lohan, should be represented as a type of anchorets, in one of the 
temples at Omeishan. This is a celebrated type of these images 
modeled after those in a temple in Nanking. It occurs more fre- 
questly in the marble pagoda of a temple on the West Lake of Hang- 
choufu, that fortunately escaped being destroyed in the Taiping re- 
bellion. This has sixteen sides, agreeing with the original number 
of Buddha’s disciples. It is vigorously decorated and tastefully com- 
posed; the images of the disciples are carved into the panels and con- 
ceived as anchorets. 
The tombs, in view of the association with the sacred earth, are in- 
variably located on the slopes of hills, where least lable to be de- 
stroyed by natural causes. This mode of building is suggestive of 
the idea that the dead have returned to the mountain from which 
all life emanates. In China the tombs have the finest architecture, 
occupy the most conspicuous sites, and are built with most extrava- 
gant art. The facade of a family tomb in western Szech’uan is an 
example of an effective artistic arrangement in imitation of wood 
architecture. Tombstones are placed in front of the facade, and in 
front of these they have the genii tables of eight stone seats to serve 
for the feast of the spirits on certain sacred days (pl. 8, fig. 2). 
Tn this vicinity I discovered the remains of a tomb that was built 
in the period of the Han dynasty. Tombs of the Han dynasty were 
described by Chavannes and hitherto were not known outside of 
Shantung. The pillars of the tombs are similar, but the difference 
in art between Szech’uan and Shantung 2,000 years ago, was consider- 
able. An earnest and severe art characterizes Shantung, while here 
the need for genre and life is revealed by the crouching figures in 
the corners and the lively relief designs between the consoles. The 
difference in the art in the different Provinces can here but briefly 
be alluded to in this one instance. 
The much praised beauty of Szech’uan is revealed in many of the 
landscapes of burial grounds that are emphasized by arrangements 
of cypress, cane, and the terraced slopes forcibly accentuated by 
a single tree at the summit. 
The Pailous, or honorary gateways, are memorials of the departed 
that are to be seen on all the highways in China, chiefly in Shantung 
and Szech’uan; in the latter they are generally built of red sand- 
