The building forms a square, each side of which is 56 metres 60 centimetres, and at each angle is a tower. A central tower, larger and higher, is connected with the lateral galleries by colonnades covered, like the galleries, with a double roof; and both galleries and colonnades are supported on a base one metre from the floor of the interior courts. Opposite each of the twelve staircases is a small portico with four columns, 4 metres 50 centimetres high, and 47 centimetres in diameter. Windows, similar in form and dimension to those of the other galleries, are on each side, and have twisted bars carved in stone. In front of each colonnade, with an entrance in the tower, is a dark and narrow chapel, to which there is an ascent of eight steps. These four chapels do not communicate with each other. Each contains an idol 4 metres in height, sculptured in the solid wall, at whose feet is another nearly 2 metres long, representing Samanakodom sleeping. The central tower is 33 metres high from the pavement of the gallery, and 50 from the basement of the building. What strikes the observer with not less admiration than the grandeur, regularity, and beauty of these majestic buildings, is the immense size and prodigious number of the blocks of stone of which they are constructed. In this temple alone are as many as 1532 columns. What means of transport, what a multitude of workmen, must this have required, seeing that the mountain out of which the stone was hewn is thirty miles distant! In each block are to be seen holes 2-1/2 centimetres in diameter and 3 in depth, the number varying with the size of the blocks; but the columns and the sculptured portions of the building bear no traces of them. According to a Cambodian legend, these are the prints of the fingers of a giant, who, after kneading an enormous quantity of clay, had cut it into blocks and carved it, turning it into a hard and, at the same time, light stone by pouring over it some marvellous liquid. RUINS IN ONGCOR. All the mouldings, sculptures, and bas-reliefs appear to have been executed after the erection of the building. The stones are everywhere fitted together in so perfect a manner that you can scarcely see where are the joinings; there is neither sign of mortar nor mark of the chisel, the surface being as polished as marble. Was this incomparable edifice the work of a single genius, who conceived the idea, and watched over the execution of it? One is tempted to think so; for no part of it is deficient, faulty, or inconsistent. To what epoch does it owe its origin? As before remarked, neither tradition nor written inscriptions furnish any certain information upon this point; or rather, I should say, these latter are as a sealed book for want of an interpreter; and they may, perchance, throw light on the subject when some European savant shall succeed in deciphering them. RUINS IN THE PROVINCE OF ONGCOR. MOUNT BAKHÊNG. RUINS IN ONGCOR.