restored; its foundations, sapped by a tangle of roots, relaid; its roof reconstructed.[139] In its graceful proportions a striking illustration of the truth that a great architect can show the vast range of his art in a very small building, may it stand many centuries longer between Mendoot and Boro Budoor as the typical expression of Javanese thought in Dravidian style! [Illustration: XXVI. THE _CHANDI_ PAWON AND THE RANDU ALAS (C. Nieuwenhuis.)] All is quiet and still in the stately avenue of _kanaris_[140] and few wayfarers are likely to be met, except after _puasa_.[141] “Than longen folke to gon on pilgrimages,” and the Boro Budoor attracts a goodly crowd bent on sacrifice to the statue in the crowning dagob or to lesser images held in special veneration. Such travelling companions, merrily but sedately intent on devotional exercise conformable to ancestral custom, notwithstanding Moslim doctrine, their forefathers’ imaginations tingeing their conceptions of life seen and unseen because of their forefathers’ blood running in their veins, increase the cheery solace of abandon to nature, facilitate the attainment of a higher sublime condition than reached as yet, the third Brahma Vihara improved upon by the Buddha, joy in the joy of others while earth and vapoury atmosphere mingle in fullness of delight, [Illustration: XXVII. THE _CHANDI_ PAWON DIVORCED AND RESTORED (Centrum.)] ... _in un tepor di sole occiduo ridente a le cerulee solitudini_.[142] We turn a corner and the road winds up a hill. That hill is the base of the Boro Budoor, the long desired, suddenly extending his welcome, majestic, overwhelmingly beautiful. It is a repetition on a much grander scale, much more magical, of the effect produced by the _chandi_ Derma bursting upon our view in its sylvan frame, reality taking the semblance of a glorious dream. In the waning light of evening the polygonous pyramid of dark trachyte appears as a powerful vision of the mystery of existence shining through a veil of translucent gold. Gray cupolas, raised on jutting walls and projecting cornices, a forest of pinnacles pointing to heaven, gilded by the setting sun, reveal perspectives of boundless immensity, vistas of infinite distance. The brilliancy of heaven, reflected by this mass of forceful imagery, this conquering thought worked in solid stone, receives new lustre from the dome-encircled fundamental idea so mightily expressed. Nowhere has art more ably availed herself of the possibilities of site and more felicitously combined with natural scenery, created a more harmonious ensemble than in the amazingly original design and delicate execution of this puissant temple, this gift of the Javanese Buddhists to posterity, a source of spiritual quickening to whoso tries to understand. [Illustration] FOOTNOTES: [125] The very appropriate name bestowed on the Dutch East Indies by EDUARD DOUWES DEKKER (MULTATULI), Holland’s greatest writer of the preceding century.