Their apprehension of universal happiness without beginning or end, sharpened by the desire to enjoy heaven on earth, lent immortality to the greatness of a people every vestige of whom would have disappeared but for their creative enthusiasm. [Illustration: III. _CHANDI_ ARJUNO ON THE DIËNG PLATEAU (Archaeological Service through Charls and van Es.)] Prurient prudery, keen on the scent of the nasty, feels shocked at the _lingas_ and _yonis_ lying round, unable in its fly-blown purity to grasp the divinity of eternal love in the poem of generation, the union of the Deva and the Devi in causation and conception of life. The Philistine sees little more than rubbish, heaps of stone of no earthly use except as havens of refuge when out shooting _meliwis_ and overtaken by rain. In the Rawa Baleh Gambang we find five such clustered together, the _chandis_ Arjuno with the house of Samār, Srikandi (Ongko Wijoyo), Poontadewa (Trumo Kasumo or Sami Aji) and Sembrada (Sepropo), the chief hero of the _Brata Yuda_ being honoured in the midst of family and friends, including his funny and faithful servant. The _kala-makara_[29] ornament of the entrance to the _chandi_ Arjuno tells its tale; so do the empty niches designed for free-standing statuettes dissolved into space. Like the _chandi_ Srikandi it was once surrounded by a wall and another point of resemblance is the small rectangular building called the _chandi_ Samār, probably destined for secular purposes; of the Srikandi dependency, however, only the base can be traced. The _chandi_ Sembrada deviates somewhat in architectural plan and detail, and the ground-idea of the decoration can be studied to best advantage in the _chandi_ Poontadewa, finest of the group, exquisitely graceful on its high basement. Here again the _makara_ ornament prevails, budding into leaves and flowers, chiselled with a chaste appreciation of the esthetic principle of self-control: _In der Beschränkung zeigt sich erst der Meister_. Under the tapering roofs, fallen or falling in, which give the inner chambers an air of indescribable elegance, notwithstanding the cramped dimensions, images of holiness stood on pedestals; the images have been removed, heaven knows whither, and even the pedestals have fared badly at the hands of sacrilegious robbers digging for hidden treasure. Trumo Kasumo, supposed to keep sentinel over his _chandi_ (in bas-relief, north side), cannot but be scandalised at modern methods of research and modern behaviour in general.