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THREE:"The buildings are arranged to enclose an octagonal space, and consequently a visitor finds himself at the starting-point when he has made the rounds. The affair is in the hands of the gentlemen who controlled the Japanese department of the Philadelphia Exhibition in 1876, and many of the features of our Centennial have been reproduced. They have Agricultural Hall, Machinery Hall, Horticultural Hall, and Fine Arts Gallery, as at the Centennial; and then they have Eastern Hall and Western Hall, which the Quaker City did not have. They have restaurants and refreshment booths, and likewise stands for the sale of small articles, such as are most likely to tempt strangers. In many respects the exhibition is quite similar to an affair of the same kind in America; and with a few changes of costume, language, and articles displayed, it might pass for a state or county fair in Maine or Minnesota.

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THREE:With this remark he rose and walked away. It was agreed that there was a certain air of improbability about his narrations, and Frank ventured the suggestion that the stranger would never get into trouble on account of telling too much truth.The Doctor scarcely heard this. He had[Pg 134] turned aside and stooped down in order to rewind the engine of his car. When he looked up again he beheld an extraordinary sight.

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THREE:"Dreaming like," suggested his companion.

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THREE:We went on some steps in silence and entered the gate of the house-grove; and just as Ferry would have replied we discovered before us in the mottled shade of the driveway, with her arm on C��cile's shoulders as his lay on mine, and with her eyes counting her slackening steps, Charlotte Oliver. They must have espied us already out in the highway, for they also were turned toward the house, and as we neared them Charlotte faced round with a cheery absence of surprise and said "Mr. Smith, don't we owe each other a better acquaintance? Suppose we settle up."Near the archery grounds there was a collection of so-called wax-works, and the Doctor paid the entrance-fees for the party to the show. These wax-works consist of thirty-six tableaux with life-size figures, and are intended to represent miracles wrought by Ku-wanon, the goddess of the temple. They are the production of one artist, who had visited the temples devoted to Ku-wanon in various parts of Japan, and determined to represent her miracles in such a way as to instruct those who were unable to make the pilgrimage, as he had done. One of the tableaux shows the goddess restoring to health a young lady who has prayed to her; another shows a woman saved from shipwreck, in consequence of having prayed to the goddess; in another a woman is falling from a ladder, but the goddess saves her from injury; in another a pious man is saved from robbers by his dog; and in another a true believer is overcoming and killing a serpent that sought to do him harm. Several of the groups represent demons and fairies, and the Japanese skill in depicting the hideous is well illustrated. One of them shows a robber desecrating the temple of the goddess; and the result of his action is hinted at by a group of demons who are about to carry him away in a cart of iron, which has been heated red-hot, and has wheels and axles of flaming fire. He does not appear overjoyed with the free ride that is in prospect for him. These figures are considered the most remarkable in all Japan, and many foreign visitors have pronounced them superior to the celebrated collection of Madame Tussaud in London. Ku-wanon is represented as a beautiful lady, and in some of the figures there is a wonderfully gentle expression to her features.

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