The use of, symbolism in decoration of the Palace of Peking was the subject of a most interesting lecture given, before members the Royal Asiatic Society last week by Mrs. F. Ayscougn. The full title of the lecture was: "Notes _on the Symbolism of the Purple Forbidden City,' a subject which Mrs, Ayscough pointed out has rarely if ever been dealt with in the many descriptions which have been written from the time of Marco Polo onwards. Symbolism was the most important, as well as the most interesting feature of the Imperial buildings, based as it was upon the foundation principles of Chinese civilization, with its unique conception of leadership, of Kingship the Ruler combining in his person the three powers of Heaven, Earth and Man, attributes derived from the Builder of All Things, The gorgeous colouring of the palace buildings, Mrs. Ayscough proceeded, was symbolical. The walls were red—symbol of the south—the sun—happiness; while the roofs covering the residence of the Sovereign on Earth were of bright yellow, the symbol of the earth. The approach to the enclosure designated as "Forbidden" was through the T'ienanmen (Gate of Heaven's Peace) flanked by two beautifully decorated marble columns known as Hua Piao, Glory of Virtue Sign Posts, to guide the Emperor upon the way he should tread. These were a survival of the Fei Pan Mu Boards of Criticism and Detraction, _instituted by Yao and placed by him and his successors outside the Palace gates in order that anyone might write upon them their opinion as to the acts of the ruler and their suggestions for improvements in the government. The Hua P'iao was also a_ symbol of the glory which should shine from the Em-Peror's virtue. j Tue Square any tite Cincte.
A paved road led to the pink walls of the Purple Forbidden City which were pierced by four gates," one facing each of the cardinal {points. Civil officials entered by the Tung Hua Men, eastern glory of virtue gate, military officials by; the Hsi Hua Men, western glory lof virtue gate, while the Emperor was only borne through the opening in the southern face known as the Wu Men or gate of the Sun Pe]at its Zenith.
Upon the solemn occasions when it was opened, a bell was struck as the Son of Heaven passed under the central larch, The arch was flanked on ithe east by a sun dial, on the west by a full measure of grain, las the sun dial is useless if the, light of the sun is obscured clouds, so the light of the Emperor's virtue could not shine if clouds, i.e. evil counsellors, interposed between him and the people. The sun dial was also a reminder that the Ruler was the sun whose light shone upon high and low alike, pattern for the Emperor.
The grain measure symbolized the full measure of justice, merey and virtue which should be meted out to each individual irrespective of his station in life: the measure Should be " level" filled to overflowing with benefits for the people. Being four-sided, it represented the whole Empire, and was in fact in the form of the original character for the kingdom, a simple square. Together, the symbols formed the saying which was at the basis of the Chinese conception of behaviour: the circle of right conduct and the square of right action.
Text read from the printed page and cleaned; old type leaves the occasional error.