Finally we come to the Stepping-Stones, and the art of the Japanese in placing these stones cannot fail to strike any one who has any interest in the making of an ordinary rock garden. Their presence in all gardens in Japan is essential, as the use of turf being almost, if not entirely, unknown for paths and open spaces, it is replaced by firmly beaten earth, or, for larger spaces, by fine sand carefully raked into patterns; as footmarks, and more especially the marks of wooden clogs, would destroy the symmetry of these patterns, and in damp weather cut up the beaten earth, the use of stones for crossing the spaces or taking a walk round the garden is an absolute necessity. The alternative name for these stones is Flying Stones or Scattered Islands, which at once suggests how gracefully and artistically they are placed. Nothing, as a rule, could be less artistic than the way stepping-stones are placed in English gardens; they seem at once to bring to my mind visions of people trying to keep a steady gait, a feat which it is positively difficult to accomplish where the stones are laid in an almost straight row. In commenting on this fact Mr. Conder says:   — 

It is not, therefore, surprising to find that the Japanese gardener follows carefully devised rules for the distribution of "Stepping-Stones." He uses certain special stones and combinations, having definite shapes and approximate dimensions assigned to them, and he connects these with secondary blocks, the whole being arranged with a studied irregularity, both for comfort in walking and artistic grace. This is attained by the employment of ragged slabs of slate, schist, or flint, flat water-worn rocks or boulders, and hewn slabs or discs of granite or some other hard stone. The natural boulders are placed in zigzags of fours and threes, or sometimes in threes and twos, artificially hewn slabs, discs, or strips intervening. Though uniformity of tread is carefully calculated, the different sizes of the stones cause the intervals to vary considerably, and any apparent regularity is avoided. The distance between "Stepping-Stones" should not, however, be less than four inches, to allow of the intermediate spaces being kept clean. The smaller stones are of sufficient size for the foot to rest firmly upon, and should not, as a general rule, be higher than two inches from the soil. In ancient times it is said that "Stepping-Stones" for the Emperor's gardens were made six inches high, those for a Daimyo four inches, those for ordinary Samurai nearly three inches, and for common folk an inch and a half in height. The larger stones are intended as a rest for both feet, and two of them should never be used consecutively. In some cases several continuous pathways formed of "Stepping-Stones" may be seen. When such walks branch off in two directions a larger and higher stone, called the "Step-dividing Stone," will be placed at the point of divergence.

The stones leading to the house end usually in a high slab of granite which forms the step on to the verandah. It is no exaggeration to say that the Stepping-Stones of a well-planned garden, besides being of strict utility, are a great ornament to the garden.

Probably the garden ornaments which will first attract the eye of the visitor are the stone lanterns, which are to be found in almost every garden, however humble. These lanterns appear to be of purely Japanese origin; no record of them is to be found in the history of Chinese gardens, though the introduction of miniature stone pagodas as garden ornaments came to Japan from China through the medium of Korea, for which reason they are still called "Korean Towers." The use of stone lanterns as a decoration for gardens seems to date from the days when the Professors of Tea-ceremonial turned their attention to landscape gardening. The custom of presenting votive offerings of lanterns in bronze or stone, large or small, plain or decorated, dates from early days, and no Buddhist temple or shrine is complete without its moss-grown lanterns adorning the courts and grounds. The correct placing of stone lanterns in the landscape garden is almost as complex as the placing of stones. They should be used in combination with rocks, shrubs and trees, and water-basins. They have no use except as ornaments, as seldom, if ever, did I see one with a light in its fire-box except in temple grounds. They appeared to be almost more valued for their age than their form, as new ones can be easily procured of any desired shape; but however ingenious the devices may be for imparting a look of age to new specimens, it is time, and time alone, which will bring that thick green canopy of velvet moss on their roof, and the granite will only become toned down to the coveted mellow hue by long exposure to the weather.

Roughly speaking, garden lanterns are divided into two classes, the Standard and the Legged class, though many others of fanciful design may sometimes be seen. The origin of the Standard class was known as the "Kasuga" shape, after a Shinto god to whom the well-known Nara temple is dedicated. Thousands of these Kasuga lanterns adorn the temple grounds, and the exact form is that of "a high cylindrical standard, with a small amulet in the centre, erected on a base and plinth of hexagonal plan, and supporting an hexagonal head crowned with a stone roof of double curve, having corner scrolls. The top is surmounted with a ball drawn to a point above. The head of the lantern, which is technically called the fire-box, is hollowed out, two of its faces having a square opening large enough to admit an oil lamp; and the remaining four sides being carved respectively with representations of a stag, a doe, the sun, and the moon." These lanterns may vary in size, from six to as much as eighteen feet, and in this colossal size make a most imposing decoration for a large garden. There are several other designs which closely resemble the true Kasuga shape. Many others there are which still belong to the Standard class: some with the standards shortened and the heads elongated; others with flat saucer-shaped caps or wide mushroom-shaped roofs  —  in fact, an infinite variety; and even in humble gardens rude specimens are seen built of natural mossy stones chosen to resemble as closely as possible the regulation form, and the fire-box made of wood. Another form of the Standard shape is suggestive of glorified lamp-posts; these lanterns are mostly used in the approach to gardens or near the tearooms. Some of them are very quaint and quite rustic in appearance, being always made of wood. The square wooden lantern on a tall post is covered by either a wooden or thatched roof with wide-projecting eaves. One of these is called the Who goes there? shape, and derives its original name from the fact that the dim light seen through its paper doors is only sufficient to enable a person to vaguely distinguish an approaching form; and the Thatched Hut shape is in the form of a little thatched cottage.

The class known as Legged lanterns have the alternative name of Snow Scene lanterns, as the very wide umbrella-shaped roof or cap, by which they are invariably covered, makes a broad surface for snow to rest upon. To the eye of a Japanese the effect of snow is almost more beautiful than any of their floral displays, and a snow-clad scene gives them infinite pleasure. The position of these lanterns in the garden should be partly overshadowed by the crooked branch of a spreading pine-tree, and certainly after a fall of snow the effect is one of great beauty.

Ornamental bronze or iron lanterns are hung by a chain from the eaves of the verandah of either the principal house or tea-room, and, like the water-basin, are often very beautiful in design. Bronze Standard lanterns are never seen in landscape gardens, only as votive offerings to temples; but occasionally an iron lantern with no standard, only resting on low feet, may be placed on a flat stone near the water's edge, or nestling in the shadow of a group of evergreen shrubs. Near the larger Kasuga-shaped lanterns a stepping-stone (or even two, if the lantern be unusually large) should be placed higher than the surrounding ones; these are called Lamp-lighting Stones, as by their aid the fire-box can be conveniently reached for lighting the lamp.

A garden water-basin may be either ornamental in form, or merely a very plain hollowed-out stone with a strictly utilitarian aspect Its position in the garden is invariably the same, within easy reach of the verandah, so that the water can be reached by the wooden ladle which is left by the side of the basin; and usually an ornamental fence of bamboo or rush-work separates it from that part of the house in its immediate neighbourhood. For a small residence, and where the basin is for practical use, the distance from the edge of the verandah should not be more than eighteen inches, and the height three to four feet; but as the law of proportion applies to the water-basin just as it applies to the rest of the composition, the ornamental basin in front of a large house will have to be three or four feet away, and its height seven or eight feet from the ground. In this case, in spite of the stepping-stones, the basin becomes merely an ornament, as it is out of reach for practical purposes, and even has to be protected by a separate decorative roof to keep off the rain.

Each shape of basin has its own name, but perhaps one of the most popular forms is that of a natural rock of some unusual shape, hollowed at the top and covered with a delicate little wooden construction, like a tiny shed or temple, to keep the water cool and unpolluted. The Running-water Basins, as their name suggests, receive a stream of clear water by means of a little bamboo aqueduct, and in that case arrangement has to be made for the overflow of the water.

As water is so essential in the composition of all landscape gardens, it is not surprising to find that the various styles of bridges which are employed to cross the lake or miniature torrents, and connect the tiny islands with the shore, are so graceful in design, and yet so simple, that they must certainly be classed as ornaments to the garden. The more elaborate bridges of stone or wood are only seen in large gardens. The semicircular arched bridge, of which the best-known example is in the grounds of the Kameido temple in Tokyo, where it forms a most picturesque object in connection with the wistaria-clad trellises, is of Chinese origin, and is supposed to suggest a full moon, as the reflection in the water below completes the circle. It was not these elaborate bridges that I admired most, but rather the simpler forms made out of a single slab of granite slightly carved, spanning a narrow channel, or, more imposing still, two large parallel blocks, overlapping in the middle of the stream, supported by a rock or by a wooden support.

Very attractive, too, are the little bridges made of bundles of faggots laid on a wooden framework, covered with beaten earth, the edges formed of turf, bound with split bamboo, to prevent the soil from crumbling away. There is an infinite variety of these little fantastic bridges, and the cleverness displayed in the placing of them was a never-failing source of admiration to me. The common idea of a bridge being a means of crossing water in the shortest and most direct manner is by no means the Japanese conception of a bridge. Their fondness for water, and their love of lingering while crossing it, in order to feed and gaze at the goldfish, or merely to enjoy the scene, has no doubt been responsible for the position of many of their bridges: one slab will connect the shore with a little rocky islet, and then, instead of continuing in the most direct route to the opposite shore, as often as not the next slab will branch away in an entirely different direction, probably with the object of revealing a different view of the garden, or merely in order to prolong the pleasure of crossing the lake or stream.

In most gardens, unless they are very diminutive in size, there is at least one Arbour or Resting Shed. It may consist merely of a thick rustic post supporting a thatched roof in the shape of a huge umbrella, with a few movable seats, or its proportions may assume those of a miniature house carefully finished in every detail. When they are of such an elaborate form they partake more of the nature of the Tea-ceremony room, with raised matted floors, plastered walls, and shoji on at least two sides of the room. The open structures in various shapes, with rustic thatched roofs, some fixed seats with a low railing or balustrade to lean against, are of more common form; and if the Resting House is by the side of the lake, a projecting verandah railed round is very popular, affording a comfortable resting-place from which to gaze at the scene.