viewing point’ in any Japanese landscape; he will ‘find a picture,’ and one ruled by this simple but excellent law of the triangle of beauty.
The highest parts of a garden are usually made to represent the hills or mountains of the particular scene which has been chosen to be represented. The stones which may be employed to assist in this scheme—perhaps as hills themselves of lesser height, or as the débris on the sides—have their names and functions also laid down by the laws of classical precedent. The main ones used Mr. Conder gives as follows:—
“Mountain-summit Stone (Sancho-seki).—Placed on or near the summit of a hill.
“Mountain-base Stone (Reikiaku-seki).—Situated near the base of a hill.
“Mountain-side Stone (Sanyo-seki) and Mountain-path Stone (Hioin-seki).—Both arranged on the slope of a hill.
“Propitious-cloud Stone (Keiun-seki).—Placed upon a hill-top.
“Mist-enveloped Stone (Muin-seki), Clear-moon Stone (Seigetsu-seki), Moon-shadow Stone (Getsu-in-seki), and Cave Stone (Teito-seki or Taido-seki).—All occupying different positions on the sides of hills, the ‘Cave Stone’ being always near the ‘Kwannon Stone.’
“Kwannon Stone (Kwannon-seki) is the name given to a stone symbolical of Kwannon,
