"The temple stands on a broad platform, and rises first in five square terraces, inclosing galleries or processional paths between their walls, which are covered on each side with bas-relief sculptures. If placed in single line, these bas-reliefs would extend for three miles. The terrace walls hold four hundred and thirty-six niches or alcove chapels, where life-size Buddhas sit serene upon lotus cushions. Staircases ascend in straight lines from each of the four sides, passing under stepped or pointed arches, the keystones of which are elaborately carved masks, and rows of sockets in the jambs show where wood or metal doors once swung. Above the square terraces are three circular terraces, where seventy-two latticed dagabas (reliquaries in the shape of the calyx or bud of the lotus) inclose each a seated image, seventy-two more Buddhas sitting in those inner, upper circles, of Nirvana, facing a great dagaba, or final cupola, the exact function or purpose of which as key to the whole structure is still the puzzle of archaeologists. This final shrine is fifty feet in diameter, and either covered a relic of Buddha, or a central well where the ashes of priests and princes were deposited, or is a form surviving from the tree-temples of the earliest primitive East when nature-worship prevailed. The English engineers made an opening in the solid exterior, and found an unfinished statue of Buddha on a platform over a deep well-hole." [Illustration] We read this description among others before we visited the Boro Budur, and must confess that from none of them did we get a correct idea of what we were to see. It must be seen to be realised. Not even photographs give a true conception of the ornate character of the decorative stonework--the hard but freely-worked lava stone having lent itself easily to the chisel. Like Cologne or Milan Cathedrals, it must be examined minutely to grasp the elaborateness of the sculptured work, but, unlike either of these, it does not produce an immediate impression of grandeur and religious elevation. It is unlike any of the temples in Japan, or, indeed, anywhere, though Ceylon and India may suggest comparisons. What will strike the visitor as he perambulates these miles of sculptured terraces is the complete absence of any offensive or indecent figure. Mere nudity is not, of course, an outrage to the artistic soul; but here there is not even a nude or grotesque figure. Each is draped in the fine flowing robes of the East, not in monotonous regularity but suggestive of prince and peasant, princess and maids, down even to the jewels they wear. Strangely enough, no particularly Javanese type of face or figure is represented--all are Hindu, Hindu-Caucasian and pure Greek.