Yoshi-san and his Grandmother go to visit the great temple at Shiba. They walk up its steep stairs, and arrive at the lacquered threshold. Here they place aside their wooden clogs, throw a few coins into a huge box standing on the floor. It is covered with a wooden grating so constructed as to prevent pilfering hands afterward removing the coin. Then they pull a thick rope attached to a big brass bell like an exaggerated sheep-bell, hanging from the ceiling, but which gives forth but a feeble, tinkling sound. To insure the god's attention, this is supplemented with three distinct claps of the hands, which are afterward clasped in prayer for a short interval; two more claps mark the conclusion. Then, resuming their clogs, they clatter down the steep, copper-bound temple steps into the grounds. Here are stalls innumerable of toys, fruit, fish-cakes, birds, tobacco-pipes, ironmongery, and rice, and scattered amidst the stalls are tea-houses, peep-shows, and other places of amusement. Of these the greatest attraction is a newly-opened chrysanthemum show.
Sculptures and medals abound in the East, containing hieroglyphic symbols of the creation. The most remarkable, however, of these symbolic devices is that erected, and at this day to be seen, in one of the temples of Japan. The temple itself, in which this fine monument of Oriental genius is elevated, is called Daibod, and stands in Meaco, a great and flourishing city of Japan.
The principal image in this design displays itself in the form of a vast bull, the emblem of prolific heat and the generative energy by which creation was formed, butting with its horns against the egg, which floated on the waters of the abyss. The status of the bull itself is formed of massy gold, with a great knob on its back, and a golden collar about its neck, embossed with precious stones.