The temple of Boro-Boedoer is built upon a slight rounded eminence, the last of a chain of hills on the eastern bank of the river Prago. The entire edifice rests upon an equilateral base of six hundred and twenty feet, situated due N.S.E. and W., and rises gradually in terraces adapted in design to the form of the hill. These consist of two lower terraces which are square in form; four galleries (or passages, with sculptures on either side), which are still rectangular in form, but have twenty angles to admit of their following the rounded contour of the hill; and four terraces, of which the first has twelve angles, while the remaining three are circular, adorned with cupolas, each containing a statue of Buddha; and finally the whole is surmounted by a huge cupola, fifty feet in diameter, in which rests the central figure of Buddha. Access from one terrace to another is gained by four flights of steps, running up the centre of each front, at the several entrances of which are placed two huge lion-monsters. Dr. Leemans, in his account of the building, enumerates _five_ galleries; but in reality there are only four, since the outside of what he calls the first gallery is merely a second basis for the whole structure, as is shown by the nature of its decoration, viz. simple architectural designs and groups of deities. The lower terrace, of which Dr. Leemans only guessed the existence, is now being excavated and photographed section by section. Only one section is kept open at any given time, because the earth is necessary to support the vast mass of stonework which forms the entire building, and it was for this reason, namely, to prevent the structure from breaking up, that this terrace was formerly banked up. It is found that this lower terrace is decorated with sculptures representing ordinary mundane scenes, the world being the basis on which all the higher religious phenomena rest. In the first gallery (Leemans' second), the bas-reliefs represent a continuous selection of scenes from the historical life of Buddha; in the second, there are sculptures of the lesser deities recognized in the Brahmanic worship, such deities having been adopted into the Buddhistic pantheon; in the third the higher deities are represented, where the _shrine_, and not the deity, is worshipped; in the fourth there are groups of Buddhas; and in the central dome there is the incomplete statue of the Highest Buddha--_Adibuddha_. This is unfinished by design, in order to indicate that the highest deity cannot be represented by human hands, having no bodily but only a spiritual existence. "OM, AMITAYA! measure not with words Th' Immeasurable; nor sink the string of thought Into the Fathomless. Who asks doth err, Who answers, errs. Say nought." Such is the design of this great religious monument, of which even the bare ruins, in their melancholy magnificence, inspire the mind of the spectator with mingled feelings of wonder and solemnity.