ause the earth is necessary to support
the vast mass of stonework which forms the entire building, and it was
for this reason, namely, to prevent the structure from breaking up, that
this terrace was formerly banked up. It is found that this lower terrace
is decorated with sculptures representing ordinary mundane scenes, the
world being the basis on which all the higher religious phenomena rest.
In the first gallery (Leemans' second), the bas-reliefs represent a
continuous selection of scenes from the historical life of Buddha; in
the second, there are sculptures of the lesser deities recognized in the
Brahmanic worship, such deities having been adopted into the Buddhistic
pantheon; in the third the higher deities are represented, where the
_shrine_, and not the deity, is worshipped; in the fourth there are
groups of Buddhas; and in the central dome there is the incomplete
statue of the Highest Buddha--_Adibuddha_. This is unfinished by design,
in order to indicate that the highest deity cannot be represented by
human hands, having no bodily but only a spiritual existence.

"OM, AMITAYA! measure not with words
Th' Immeasurable; nor sink the string of thought
Into the Fathomless. Who asks doth err,
Who answers, errs. Say nought."

Such is the design of this great religious monument, of which even the
bare ruins, in their melancholy magnificence, inspire the mind of the
spectator with mingled feelings of wonder and solemnity.

The temple of Loro-Jonggrang is one in which, as at Kalasan, the object
of worship was Siva, and not Buddha. This god, as already stated, was
the third of the three persons of the Hindu Trinity; the first being
Brahma, or the Creator, and the second Vishnu, the Preserver. Siva, the
Destroyer, is also the Reproducer, and appears in Java to have been
worshipped under three forms: (1) as Mahadeva, or the Great God; (2) as
Mahayogi, or the Great Teacher; and (3) as Mahakala, or the Destroyer.
Guru (or Goeroe) is an alternative name for Siva Mahayogi, and his
statues in this temple are so called. The edifice is greatly inferior in
size to that of Boro-Boedoer; it rests upon a rectangular basement
having twelve angles, and measuring some eighty feet across in either
direction. Like the former temple, its position is almost exactly square
with the points of the compass. The basement is ornamented with ordinary
religious ornaments, consisting of sacred trees and lions. Above this is
a