was suspended a bowl of white jade, in which lay the smoking end of a lighted wick. Numerous side altars were similarly decorated. The furniture of the temple comprised a big drum, a heavy, cracked bell, cast in the thirteenth century, and a pair of cymbals. There were five monks; the two women sat, mute, upon the left of the Abbot. The four priests arranged themselves upon the right—one to the bell, one to the drum, and two to the pair of cymbals, in the playing of which they took turns. Upon each side of the temple, recessed right and left of the main altar, were mural representations of the Ten Judges. Save for the altar illuminations, the effect of which was to render the interior even gloomier and more eerie than usual, the building was in darkness.
The service began with the customary calling for Buddha. The Abbot tapped upon a bamboo cane; every one leant forward, their faces pressed down, and their foreheads resting upon the floor. The palms of their hands were extended beyond their heads in an attitude of reverence and humility. This prostration was accompanied by the intoning of a Thibetan chant, to the accompaniment of a brass gong, struck with a horn handle by the Abbot himself. Further prostrations followed upon the part of the entire assemblage, the women joining in this part of the service. For the most part they squatted silently and reverently in their corner of the temple. As the different services concluded the Abbot shifted the offerings before the main altar to their appointed stations before the smaller shrines, when the prayers proceeded afresh. Protracted overtures were made to the picture of the Ten Judges, before which the service apparently became fully choral. One priest danced amazing and grotesque steps, strangely
