that his handiwork reflects his consciousness of the moving soul of the world; that the secret of its imperishable charm lies pre-eminently in his keenness of observation. To Javanese sculpture in this period may be applied what Fergusson remarked of Hindu sculpture some thousand years older in date: It is thoroughly original, absolutely without a trace of foreign influence, but quite capable of expressing its ideas and of telling its story with a distinction that never was surpassed, at least in India. Some animals, such as elephants, deer and monkeys, are better represented there than in any sculptures known in any part of the world; so, too, are some trees and the architectural details are cut with an elegance and precision which are very admirable. Turning to the Mendoot we notice how the sculptors charged with its decoration, always truthful and singularly accurate in the expression of their thoughts and feelings, portrayed their surroundings in outline and detail, wrote in bas-reliefs, ornament and statuary the history, the ethics, the philosophy, the religion of the people they belonged to and materialised their splendid dreams for. What conveys a better knowledge of the Tripitaka, the Buddhist system of rules for the conduct of life, discipline and metaphysics, than their imagery, coloured by the very hue of kindliness and effacement of self in daily intercourse; what inculcates better the _paramitas_, the six virtues, and charity the first of them, than their carved mementos of the reverence we owe to the life of all sentient creatures, our poor relations the animals, striving on lower planes to obtain ultimate delivery from sin and pain but no less entitled to benevolence than man?