expression in new forms and never hesitating at any oddity, at any audacity to proclaim the message of artistic freedom from convention, they struggled free from the sober lines and harmonious distribution of spaces always maintained in Central Java, to run riot in fantastic innovations. Yet, they held communion with nature and neither shirked their responsibility nor sinned against the proper relations between their purpose and the visible consummation of their task as those of our modern master-builders do who contrive churches like barns or cattle-sheds, stables like gothic chapels, prisons like halls of fame and cottages like mediaeval donjons. From such architectural absurdities it is pleasant to turn, _e.g._, to the _chandi_ Papoh, a temple whose corner-shrines might pass for daintily wrought golden reliquaries inlaid with jewels, when the minute detail of their exquisite decoration is shone upon by the setting sun; or to the _chandi_ Sangrahan, when warmed to life from death and fearful decay, by the blue of a measureless sky, again budding from the earth, lovely as the lotus in the bliss bestowing hand of one of the five finely chiselled but headless statues near by. [Illustration: XV. _CHANDI_ PAPOH (Archaeological Service through Charls and van Es.)] Holiness in East Java, as everywhere in the island, took naturally to bathing. The retreat Bookti in the district Rembes, set apart for that pastime, according to the legend by Semu Mangaran, first king of Ngarawan (the later Bowerno and still later Rembang), had and has many rivals, nearly all in possession of antiquities to show their sacred character and the regard in which they were held. Some, like Bookti and Banyu Biru, the deservedly popular “blue water” of Pasuruan, are enlivened by colonies of monkeys, descendants of the apes kept there in Hindu times, beggars by profession, whose antics reap a rich reward. Sarangan in Madioon, Trawulan and Jalatoonda in Surabaya, Jati Kuwoong and Panataran in Kediri, Ngaglik and Balahan in Pasuruan, shared in olden times the renown which now is principally divided between Banyu Biru and Wendit, not to forget Oombulan, delightful spots, typical of a land where life is a continuous caress. Ngaglik has a beautiful female statue, evidently destined to do service as a fountain-figure after the manner of the nymphs which grace John the Fleming’s[94] Fontana del Nettuno in Bologna and countless other waterworks of his and the succeeding period. Wendit has Sivaïte remains: the prime god’s _nandi_, statues of Doorga, Ganesa, etc.; most of the _lingas_ and _yonis_ that used to keep them company as reminders of their inmost nature, have been carried off. Banyu Biru has a statue of Doorga, _raksasas_, fragments of Banaspatis, etc., and a very remarkable image of Ganesa with female aspect, an object of veneration, especially on Friday evenings when flowers and copper, even silver coins are strewn round to propitiate