It is clear, says Dr. Brandes, that at the time referred to in this second record, the Boro Budoor was something more to the natives than simply a hill; they knew of the building with the thousand statues--a round number like that of the _chandi_ Sewu, the “thousand temples”--and they knew of the images in the bell-shaped _chaityas_ on the circular terraces. And though any one of those 72 statues or even the principal statue in the central dagob may have been meant, in which last case, however, another expression than _kuroongan_ (cage) would appear more appropriate, we think involuntarily of the Sang Bimo or Kaki Bimo so-called, a statue of the Buddha promoted or degraded by popular superstition to the rank of a Pandawa, Arjuno’s chivalrous brother, seated in the _chaitya_ of the lowest circular terrace, next to and south of the eastern staircase, still venerated by the natives, by the Chinese community and by more women and men of European extraction than are willing to confess it. Bimo or Wergodoro, to use the name given to him in the _wayang lakons_ when they extol his youthful exploits, is the archetype of the _satrya_, the pattern of ancestral knighthood. Most probably it was Sang Bimo who, conformably to the _ilaila_ or ancient prediction, executed the decree of fate on Pangeran Adipati Hamangkunagara. Disregarding the example set by the invisible power which resides in the Boro Budoor, a later Crown Prince of Jogjakarta visited that temple in 1900 without, so far, coming to grief. Has then the _ilaila_ under special consideration lost its efficacy? We must presume so, notwithstanding that the occult forces identified with Sang Bimo and other statues of the ancient fane, are affirmed still to work miracles in plenty when propitiated by adequate sacrifice. [Illustration: XXXVIII. ASCENDING TO THE DAGOB OF THE BORO BUDOOR (Cephas Sr.)]