“Weeks might be spent in studying, identifying, and classifying the varied subjects of this wonderful gallery. You see warriors riding upon elephants and in chariots, foot soldiers with shield and spear, boats, unshapely divinities, trees, monkeys, tigers, griffins, hippopotami, serpents, fishes, crocodiles, bullocks, tortoises, soldiers of immense physical development, with helmets, and some people with beards. The figures stand somewhat like those on the great Egyptian monuments, the side partly turned towards the front; in the case of the men, one foot and leg are always placed in advance of the other; and I noticed, besides, five horsemen, armed with spear and sword, riding abreast, like those seen upon the Assyrian tablets in the British Museum. In the procession several of the kings are preceded by musicians playing upon shells and long bamboo flutes. Some of the kings carry a sort of battle-axe, others a weapon which much resembles a golf-club, and others are represented as using the bow and arrow. In one place is a grotesque divinity, who sits elegantly dressed upon a throne surmounted by umbrellas; this figure, of peculiar sanctity, evidently, has been recently gilded, and before it, upon a small table, there were a dozen or more ‘joss-sticks’ kept constantly burning by the faithful.[60] But it is almost useless to particularise when the subjects and style of execution are so diverse. Each side of the long corridor seemed to display figures of distinct feature, dress, and character. “‘The most interesting sculptures,’ says Dr. Adolf Bastian, the President of the Royal Geographical Society of Berlin, who explored these wonderful ruins in 1864, ‘the most interesting sculptures at Nagkon Wat are in two compartments, called by the natives respectively the procession and the three stages (heaven, earth, and hell). What gives a peculiar interest to this section is the fact that the artist has represented the different nationalities in all their distinctive characteristic features, from the flat-nosed savage in the tasseled garb of the Pnom, and the short-haired Lao, to the straight-nosed Rajaput, with sword and shield, and the bearded Moor, giving a catalogue of nationalities, like another column of Trajan in the predominant physical conformation of each race. On the whole there is such a prevalence of Hellenic cast in the features and profiles, as well as in the elegant attitude of the horsemen, that one might suppose Xenocrates of old, after finishing his labours in Bombay, had made an excursion to the east.’