Art and architecture make the picture of Burma as it remains in memory and they are the faithful reflection of the character and ways of its inhabitants, their cheerful but religious temper, their love of what is fanciful and graceful, their moderate aspirations towards what is arduous and sublime.  The most striking feature of this architecture is its free use of gold and colour.  In no country of the world is gilding and plating with gold so lavishly employed on the exterior of buildings.  The larger Pagodas such as the Shwe Dagon are veritable pyramids of gold, and the roofs of the Arakan temple as they rise above Mandalay show tier upon tier of golden beams and plates.  The brilliancy is increased by the equally lavish use of vermilion, sometimes diversified by glass mosaic.  I remember once in an East African jungle seeing a clump of flowers of such brilliant red and yellow that for a moment I thought it was a fire.  Somewhat similar is the surprise with which one first gazes on these edifices.  I do not know whether the epithet flamboyant can be correctly applied to them as architecture but both in colour and shape they imitate a pile of flame, for the outlines of monasteries and shrines are fanciful in the extreme; gabled roofs with finials like tongues of fire and panels rich with carvings and fret-work.  The buildings of Hindus and Burmans are as different as their characters.  When a Hindu temple is imposing it is usually because of its bulk and mystery, whereas these buildings are lighthearted and fairy-like:  heaps of red and yellow fruit with twining leaves and tendrils that have grown by magic.  Nor is there much resemblance to Japanese architecture.  There also, lacquer and gold are employed to an unusual extent but the flourishes, horns and finials which in Burma spring from every corner and projection are wanting and both Japanese and Chinese artists are more sparing and reticent.  They distribute ornament so as to emphasize and lead up to the more important parts of their buildings, whereas the open-handed, splendour-loving Burman puts on every panel and pillar as much decoration as it will hold.

The result must be looked at as a whole and not too minutely.  The best work is the wood carving which has a freedom and boldness often missing in the minute and crowded designs of Indian art.  Still as a rule it is at the risk of breaking the spell that you examine the details of Burmese ornamentation.  Better rest content with your first amazement on beholding these carved and pinnacled piles of gold and vermilion, where the fantastic animals and plants seem about to break into life.