At the close of the 19^th century B. Kersjes and C. den Hamer conducted the first complete survey of Candi Mendut for the purpose of determining the nature of the restorative measures that should be undertaken in order to preserve the temple for future generations. The results of their initial findings were published in Tjandi Mendut voor die restauratie (1903). Their observations provide many important details concerning just how the temple had appeared prior to its restoration in the early 20th century, including precise measurement details that reflect the temple’s original condition. In addition, the two Dutch surveyors were responsible for establishing the first comprehensive reference system for indicating the placement of all the reliefs and images that appear within the confines of Candi Mendut.

The text presented below provides a comprehensive review of the archaeological details observed by C. den Hamer that are essential to studying Candi Mendut. In Part I: An Architectural Description of the Mendut Temple, B. Kersjes examines the temple's architectural highlights. In both cases, the original photographic and illustrative plates of the authors are supplemented by links to additional modern photographs that can further aid the explanations given herein. 

§2a. The reliefs of the first ambulatory

The temple’s sub-basement (Plate X) -- which presents a horizontal band of stone “teeth” that were found to be beveled at an angle of 45 degrees at the corners -- is encompassed by a decorated band that is 90 m in length. It is interrupted by frames and pilasters, of which only one, A43, has been entirely finished. On the whole there are 51 decorated fields (Plate V), each projecting outwards by over 10 cm, of which A1 to A4 and A48 to A51 on the front side are of greater dimensions than all the rest. In addition, fields A13, A26 and A30 ¾ where the figures are in the posture of rendering homage (sila) ¾ line up even with the midpoints of the three large reliefs on the walls above. These mid-point reliefs are of equal dimensions and their decorations display the idea of commanding solidity.

Between the panels are additional fields that are decorated with ornaments of a large composition, borrowed from flower details ¾ a motif that has been repeated in reliefs of equal dimensions within a total of 18 (6 + 12) fields that appear on the left-,  back- and right-hand sides of the basement. These decorative supplements, which have been executed in a free-hand style, end up complimenting the (adjacent fields with) human figures very well, and act to clarify the forms of the core decorations. 

The human figures portrayed along the first ambulatory, (i.e., the path around the basement, which is lined with paving stones), lack a base, pedestal, or plinth as well as halos.

The depth of each relief's flat framework is approximately 2 cm. Using a large mixture of motives, the columns are developed in one-layer form on both sides, and with respect to the middle line of the foundation each is are strictly symmetrical in terms of height and width.²

Den Hamer found field A1 still in good condition, except for the left upper corner, where a stone 28 cm by 21 cm was missing. A beautiful ornament covers the head; the cord hangs ready off the left shoulder; the right-hand rests on the thigh and covers a portion of the garment. Over this cloth is a second garment that presents a succession of uninterrupted furls. Decorations such as the forearm-, wrist- and ankle rings have been introduced, together with a necklace, and three neck folds are also clearly visible. Den Hamer thought that this image represented Vishnu, despite the absence of clear attributes that would be sufficient for arriving at such a conclusion. His surmise was more based on the fact that the corresponding field A51 on the other side of the entranceway presents the image of a winged character, which for the main part displays human characteristics. It features the mouth of a bird, and wears ear buds, a necklace and snake rings on the upper arms; the left hand rests on the hip, and the right is raised, holding the index finger on the thumb. This puts a Garuda in the front, Vishnu’s celestial mount. With regards to the ornamentation of the first ambulatory, no other birds have been introduced there; however, they commonly occur on the upper terrace level beyond the balustrade. 

Den Hamer thought that what the sculptor intended for this relief's function, at least some respects, was to invite movement around the temple in the clockwise direction. His presumption came from the bird's floating attitude as well as the placement of open left hand and slightly bowed arm.

The Garuda fills the middle of a frame that is formed by four ranges of stone, which measures 1.10 m by 0.93 m, including the framework. The field itself is 97 cm by 85 cm and therefore more approaches the dimensions of the fields on either side of it rather than the fields that appear on the remaining three wall-sides, where the dimensions are approximately 70 cm by 93 cm. 

Returning to field A1 at the start of the first ambulatory, a small part of the ornament was still present on the 2^nd field to indicate that it originally corresponded to the bright flower ornament field that we will meet once again beginning with the 8^th field.  In addition, three pilasters between the 1^st and 2^nd fields of which the middle one projects outward, remain wholly rough, (and thereafter repeated) each time to separate (the rest of) the decorated frameworks. 

Measuring 97 by 85 cm, field A3 presents a monkey in a running posture before a background filled with thumb-sized branches. Concerning the upper fourth layer of this field, only a small piece of stone is still present. Den Hamer tried to link this monkey with the Vishnu’s avatar of Lord Rama but to other later scholars this hardly seemed to be the probable state of affairs to find on a Buddhist temple. 

Field A4, which is slightly damaged, contains an ornament that expresses a firmness that is in accordance with the solid sub-basement itself, one that mirrors the corresponding 48th field on the opposite-side of the sub-basement.

The length of the linked reliefs 1-2 amounts to 4.64 m, while for reliefs 3-4 it is 4.34 m, or 30 cm shorter. The linked reliefs 5-6 and 7-8 are each 3.30 m in length. The measurement of the three remaining corners of the Candi reveals a small difference of 3 and 4 cm. ³

Field A5, which also has a strong appearance, is the first field on the sub-basement proper, it is smaller than the ones previously encountered on the front side of the Candi. It is placed at a distance of exactly 8.0 m along the relief band encircling the sub-basement.

Like all the other reliefs along the first ambulatory, excepting only the three taller ones at the mid-points of the outward-projecting frames on the left-, back-, and right-walls (A13, A26 and A39), this field presents a human figure in the djèng-kéng (i.e., kneeling one one knee) attitude. ⁴ The figure is lacking the sacred cord, (but) the neck folds are present. The handle of a fly whisk rests in his left hand and the upper arm-bands have the form of snake rings. On the garment covering the lower body there is a decorated band on which figures are found that before were absent.

The figure in Field A5, which is in 3/4 profile, does not face in the direction of the middle of the temple, which is otherwise the case except for the previously-mentioned fields A13, A26 and A39. Like A47, which is also the case for its counterpart A5 on the other side of the sub-basement, the figure reflects human characteristics. With regards to the figures seated in sila attitude in the middle panels (on the three sides of the sub-basement), it appears as if they have been intentionally paced underneath the large figures in the great panels at the center of the walls above, and as if they have been located outside of the walls of the temple proper. 

Field A6 on the sub-basement, which comes after A4, is damaged. However, its counterpart on the other side of the sub-basement, A46, is decorated in an equal fashion.  

Concerning field A7, as well as A9 and A11, they mirror the three fields located on the other side of the centrally placed A13 on this side of the sub-basement. Thirteen fields in total ¾ 7 fields that contain figures and 6 that present flower decorations ¾ are presented on the left-hand side of the Candi (A7 through A19), which faces the northeast. The same number is found on the back- and the right-hand sides of the sub-basement, as designated in the plan presented in Plate V.

The 68-cm outward extension of the side wall is 13.34 m in length on the left-hand side, and 13.85 m long on the back and right-hand sides of the sub-basement. 

Field A7 presents a figure wearing a head ornament decorated with rosettes. In addition, this figure has round ear buds, a neck jewel with a hanging string, and the sacred cord, as well as bands on the upper-arm, hand and wrist. The depending cord is held in the left-hand while the right-arm, which rests with the elbow on the knee, holds the hand open with the palm up. The left arm and the ornament in this particular field are damaged. 

In field A8, the flower ornamentation is well preserved. The figure that appears in field A9 wears ear buds that are more decorated than those previously seen, whereas also the garment covering the hips is tied up by a cord made out of twisted threads, the forward part of which ends in a small box. In addition, the jewel necklace has a similar fastener. The figure lacks the ankle rings. The right hand, of which the bent first finger touches the thumb, is at the height of the breast. The fingers of the left hand are also held open. At the end of the stems are some flowers. This relief is in good condition.

In field A9, the flowers have been developed to a superior degree than in the 7^th, where only a few are presented in the middle, whereas to both square and above at a half-loading only a single plain flower has been introduced. 

Concerning the remainder of the fields that contain the light and heavier floral patterns, it is no longer necessary to present a separate discussion.

In field A11, the slightly damaged figure is missing its head ornament. The hair appears to be made up into braids and the ear buds are simple in style, as are the bracelets. Only the wrist bracelets are lacking from what has been encountered in the earlier fields. Here the caste cord is once again present but the loin cloth is missing its decorative band. The filling with more fine volutes is in agreement with what is presented in the 7^th field.

Field A13, which is located in the middle of the left face of the sub-basement, presents a figure in the sila posture, possibly because the location of this particular field is linked with B36 on the great wall area of the 2^nd ambulatory above, a situation that is repeated in fields A26 and A39, which are directly below B39 and B42 at the level of the second ambulatory level. On the 2^nd ambulatory stage, images of the godhead have no doubt been introduced in the three main partitions of the temple walls, which help to plausibly explain the more devoted ordering of the sub-basement. Everything on the sub-basement indicates that the entire plan has been closely fixed on these three specific points. 

Concerning the hair of the figure in Field A13, it is tightly bound by a cloth cord that is visible above the head ornament. The figure wears a jewel string, bands on the upper arms and bracelets on the wrists. Here the cord has been replaced by a bandoleer, which increases in breadth in the downward direction. The garment covering the hips is held up by a band. The left hand rests on the thigh; the open right hand, held halfway up, is turned away from the body. The styling, which is a bit squeezed, differs considerably from the previous and following images.  Only the stones in the upper register of the 14^th field have survived wholly undamaged.

With regard to the figure in field A15, the head is slightly tilted upward, the right hand rests on the thigh, the left elbow is on the knee and the first finger touches the thumb. The sacred thread is here a double cord and the hand is held to the head. The hair is bound and seems to roll up to a finish. There are hanging buds in the ears, but this figure lacks ankle rings, which was also the case in A13.

As previously seen in A5, the figure in field A17 is equipped with a fly whisk that hangs from the right shoulder. The face of this figure is no longer present but a head ornament that supports a diadem can still be seen. Although both the cord and the bracelets for this figure are without any decoration, a jewel necklace is displayed. The attitude of the fingers of the left hand is odd. 

In field A19, the figure’s wandering left hand is damaged as well as obstructed by the construction stones above it. In the open-part of the right hand can still be seen a part of the stem of a fly whisk. Here the ear-rings and snake-rings have been roughly treated, and the bandoleer is not very clear. The right leg, together with a garment with decorated bands that covers the lower body, does not appear to have been finished. 

Before leaving the left side of the sub-basement, it should be noticed that the figure in sila attitude, A13, only presents 2 neck folds as opposed to A3, which is the case in all the remaining image fields. 

A20, which is the first field on the back side of the sub-basement, portrays a male figure that leans his right arm on the raised knee and wears a ring on the right hand. His left hand rests on the thigh. This figure lacks the sacred cord. The head decoration consists of a band of rosettes and the necklace carries spangles. Cords have been placed around the ankles and the garment that covers the lower body is held up by a string. 

The figure in field A22 carries a fly whisk on the left shoulder, and has arm bands in the form of snake rings. But this figure in profile is missing the head ornament as well as wrist- and ankle-rings and only one earring can be seen. The right elbow rests on the knee with the hand open. Moreover, the jewel necklace is wholly divergent of form. 

The figure in field A24 holds the curved index finger of the right hand on top of the thumb, which it protects from harm. The face is no longer present but little else has been damaged. 

In field A26, the figure has both hands raised above the head in sila attitude, and displays a full contingent of ornaments as well as the sacred cord.  

The figure in profile does not hold its head up in field A28. A fly pallet is kept in the right hand, which is supported on the right hip. The left elbow rests on the knee with the hand held open and the thumb held up. Only the ankle rings are lacking. The left hand holds a palm-leaf book. 

In field A30, the figure in three-quarter profile is missing the (sacred) cord. His arms are positioned alongside the body and he hold a leaf; the wrist- and ankle-rings are absent, and the bent index finger rests on the thumb. 

Field A32 presents the final figure to appear on the back side of the temple (basement). Although damaged due to the collapse of the stone layers above, it can still be seen that the hands are folded together in such a way that the tops of the two pinkie fingers mutually approach one another. 

Field A33 is the first to appear on the right side of the sub-basement. The figure in this field also has his hands folded together. Here the head ornament and the bracelets are more beautifully decorated, but the figure lacks the sacred cord, the ball collar and the ankle rings. 

The figure in field A35 displays a beautiful jewel necklace and arm band. The left elbow rests on the knee with its hand open, but the right hand is damaged. The sacred cord is present. 

In field A37, the figure’s head is raised, as is the right hand, which displays the index finger and the thumb reciprocally approaching one another. The left hand rests on the hip and here the jewel necklace and wrist bracelets are only simply presented. The lower body garment has a longer slip but the sacred cord is once again present.  

The figure in field A39, which is located in the middle of the right side of the sub-basement, holds a lotus stem in the left hand and the open lotus bud reaches to the level of the figure’s left shoulder. The upper arm of the right hand is raised and the bent index finger of the hand closes on the top of the thumb. The necklace is a cord, and the figure also wears a cord bandoleer. However, the figure is lacking the bracelets and ankle rings encountered earlier. This is the first time that a lotus has been found, which corresponds with the great field on the 2nd ambulatory above, where a pond with lotus flowers is portrayed. 

Field A41 presents a figure in three-quarter profile with a slightly raised left-elbow that lies on the knee. In the raised left hand he holds a pallet, which has only been presented once before. The right hand rest on the thigh. The figure lacks the sacred cord and the second garment covering the lower body but a decorated hip band has been presented. 

The figure in field A43 holds the stalk of a flower with four petals in his left hand. The sacred cord and ankle rings are lacking but decorated buds hang from the ears. To the right of this field is a treated pilaster. The measurements of the flat plate out of which it has been chiseled are 92 cm by 16 cm. 

The head of the figure in 3/4 profile that appears in field A45 is raised and the left hand is held as if to receive something. The right hand rests on the hip. The sacred cord, bracelets and ankle rings are lacking. This field is considerably damaged.  

Field A47 is the last one to appear on the sub-basement proper. It portrays a characteristically human figure with folded hands and eyes that look downward as if humble and beaten. The face is turned in the direction of the temple staircase, which is not the case with its counterpart A5 on the other side of the sub-basement. Considering the sober nature of this field, this figure appears to be anticipating his arrival at the front of the temple, where the entrance to the world above is located. It is as if this character is already anticipating the need to go up to the higher, and therefore holier, parts of the sanctuary. Both the sacred cord and the ankle-rings are lacking but the hip band of the second garment is decorated. 

Field A49 (which is the complement of A3) portrays a meerkats (South African mongoose), with the face looking back as if to persuade the others to follow him, as witnessed by the forward-looking figure in the preceding 47th field. 

Field A51 ¾ the last of the entire series ¾ was previously discussed as the counterpart of A1, where it was proposed that the Vishnu image in A1 formed a relationship with the Garuda of A51 at either side of the temple’s entrance. Den Hamer found further support for this idea in the hand attitude of the Garuda. 

The four images of A1, A51, A3 and A49 are located on the broad projection of the first ambulatory at the front of the Candi. This projection extends outward by (slightly less than) 6 times the width of any of the other three sub-basement projections, therefore deviating in both size and presentation from the 23 remaining fields presenting figures, of which 20 assume the dejeng-kèng posture and 3 are in the sila posture. This projection corresponds ¾ as the overall architectural plan can also be seen to do ¾ with the higher structure of the temple porch above. This state of affairs, the dissidence of which has already been displayed in silent passage, makes it seem as if it were loose and on its own from the rest of the main building.

The arrangement of the figures on the sub-basement is impressive and harmonious. In addition, the systematic presentation, which can be noticed everywhere in this Candi, delightfully continues above.

As we have already seen, the characters at the corners of the sub-basement are turned toward the middle of each projection. By means of both direction and attitude, they continually draw our attention to the middle of the structure. Moreover, their devout activities ¾ which speak so strongly to the spectator ¾ make it seem as if they are expressing on their faces a remembrance of what is taking place at the center. In addition, the sembah gestures of the middle figures on the three sub-basement sides suggest that these three figures discern the great divide that exists between them and the leading characters that are enthroned on the great walls above; they not only express their loving adoration but also convey an anticipation of still greater things to come. 

The panels that line the sub-basement, which are crowned still further by antefixes, already demonstrate the vertical aim of the temple, through which the chief architect has transmitted his deeply held feelings by elevating art in such a masterful fashion.  

§2b. The staircase and the fables

The staircase, on the northwest front of the temple’s main axis, has a breadth of 4.82 m and is only slightly damaged. Along 14 steps, a number that we also find at Candi Sewu, ones is carried up to the floor level of the 2^nd ambulatory floor, which is located 3.60 m above the grounds.

At the height of the third step and on the West side of the staircase, we find a compound ornament the end of which disappears underneath the staircase banister that connects to the ring wall of the second ambulatory. This is a monster animal head. In its gaping maw it holds a lion with closed mouth, raised talons, horns that bend behind the ears, and a curly tail that lies against its body.

The jaw of the monster head finishes in a backward withdrawn curve that presses in the upward inflection and against which a bundle of grain hangs down, finishing in a globe of leafs with equal properties, resting on a leaf decoration, which extends to the root of the lion’s nose.

The monster head also displays horns that bend downward approximately 1.15 m behind the decorated ear shells, as if it were a stag, and this has been treated beautifully. A bit further back on the neck that follows is a band that is decorated with edge stones and partially covered by arabesques, which proceed in a curve of triangular forms. There are 12 teeth in the monster’s bottom jaw; the upper one also bends upwards. The tongue is located in the mouth near the toes of the lion’s rear feet, which has a breadth of 3 dm. The curled hind end of each lion has been treated differently. In the upper jowl, where a total of nine teeth are located, the canines are considerably larger. The so called cushion on the neck behind the curve is decorated. The whole side must have consisted of 3 ranges of stone; 2 ranges measure 1.10 m; also there is the affirmation of the banister stairs that we are unable to examine, leaving us only to guess. We have to call this decoration a makara ornament, more or less a modified version of the water spout heads, examples of which are still available on the main square of the building. 

At the lowest step of the staircase where the railing connects with the ring wall, we see a seated image that is only 50 cm high on the West side (B49). The image has the right hand on the knee and holds a flower-stem in the left-hand; the flower rises behind the figure to reach the level of the right shoulder. Above the left shoulder only a part of a closed globe can be seen. The image on the North side (B50) of the staircase has a smaller head, so that the hair, which features a part in the middle, rolls up to as finish and is more visible. Off the left shoulder lies a small portion of an open bud, the stem of which is held in the left hand.

Both images have large ear buds and neck jewels; the one on the left-hand side also has cords that reach to the ankles. The figures and their corresponding background areas, each formed from a single stone, serve as supports for each the staircase makaras.  

On each of the two sides of the staircase (Plate XIII), which are displayed on the plan in Plate V as 1e and 2e, a total of four ranges of mutually-related reliefs have been introduced in flat frame. They present fables from the past that reflect the tales to be found in the old Tantri texts such as the Panchatantra. The bottom section on each side contains two rectangles and a right-angle triangle, likewise the second section also, which from the nature of the treatment is of inferior length. In the third section only a single rectangle could be introduced, that is 82 cm long, whereas in the fourth section it only reaches 62 cm in length.

The whole falls in a right-angle triangle, of which the layer line has a length of 4.42 m and the upper portion has disappeared. On the slanting side there are four small right-angle triangles, whose slanted sides display through lengthening that at the top a place no longer fell for a right-angle triangle. Within the whole, a total of six decorated the right side and five decorated the other three corners. The same number also applies to the state of the remaining staircase wing. 

We shall now turn our attention to the reliefs on the left-hand staircase wing when standing in front of the stairway. The scene in the first relief at the bottom (1e1), which is 94 cm long and 49 cm high, causes us to recall the fable of the tortoise and the geese, which formerly was also noticed by others and therefore requires little in the way of an explanation due to its general reputation. The two archers have aim their bows high in order to shoot at the geese, thanks to which the tortoise keeps his teeth clenched onto the branch that the birds are carrying so that he won’t come crashing down. The scene also contains the image of the tortoise, having fallen on the ground, after he speaks. The fellow with outward-extended hands carries a basket of provisions (on his back) in order to have them at hand while he is out guarding the buffaloes; for drawers the lads only have the lower-body garments, which are tied up with a bit of decorated band.

In relief 1e2, which is 1.0 m long, a Brahman underneath a parasol is conversing with a man who is seated underneath a tree. The Brahmin wears the sacred thread while the seated man wears a jewel necklace, arm bands, bracelets and a cord about the hips. Under his right hand he seems to keep something that he either wants to hide or is holding in readiness for the dogs. At his side sits a dog. A plant with a decorated bud stands beside the stool on which the man’s left foot rests. We see a beo (bird) standing in a basket. The woman’s gaze is fixed on the bird and she seems to have something in her closed right hand. By her posture, the fourth person suggests that her right arm is heavier, possibly containing a stone. 

Framed in a triangle, relief 1e3 presents a snake coming out of its hole; the other animal here is a weasel. This may possibly be the fable of the bird couple whose boy had been killed by a snake, and that when they go to the hole where the snake lay to curse their deadly enemy the knowing weasel leads the way. 

Relief 1e4, which is 62 cm long and 42 cm high, contains a Brahmin who is seated under a shed. Near him lies a bag. A crab seizes a crow and a snake with his pinchers. ⁵

Relief 1e5, which measures 78 cm by 42 cm, shows a tired or sick man lying on a mattress with his head in the lap of a woman. Anther woman takes care of the fire and the cooking activities, the quicker to have. What under the lean-to possibly hangs the accelerated curtains of the bedroom. Two pots stand where the cooking takes place. All three persons have bands at the wrist and on the hip; a necklace is also visible on the second. 

Relief 1e6 is a triangular field that contains a monkey, leaning against a tree, from which round fruit hang. He holds the left paw to the head and in the right something huge; but what he once held is no longer visible, because there the stone is lacking. 

Relief 1e7, 82 by 30 cm, has four characters, a Brahman, with the sacred cord and sitting on a cushion, which lies on top of a chair next to which a tree stands. In front of him is a seated woman. Three men make a declaration, of which the one making the proposal makes the sembah gesture with folded hands and has a crown and a halo as well as another distinguished one with beautiful body decorations, with the arms mutually behind the first figure and the head ornament supporting a form that den Hamer thought looked similar to a Phrygian bonnet. 

To the right side of this scene, the triangle is lacking because the stone has disappeared. Only the band on the lower part is still visible. Concerning the scene’s left side too little remains, which is thus only filled with flower ornament in a procession of 10 cm wide and 40 cm high. What is notable to see in this ornament, which also occurs on the 2^nd ambulatory, is the broader field with 2 ranges of flowers, one above the other. Little remains concerning the 4^th one.

The relief 1e10, held in a rectangle that is 62 cm long, still displays a lion (?) and a seated ape; concerning the third character nothing more can be distinguished.  

That which still remains of relief 1e11 in a triangle displays a tortoise and some waves, possibly the remainder of an illustration of the fable of the race between the tortoise and the Garuda from Tantri texts. ⁶

In three of the five large reliefs to the left of the staircase we find a Brahman near, with moustache and carrying a fire box: all have the sacred cord and the body is covered only by a loin cloth. The rectangles and triangles to the right-hand side of the staircase have been put in equal senses.

In relief 2e1 in the bottom rank, just short of the tooth band on the sub-basement, an offering is being presented to a hermit, only wearing a long jewel necklace around the neck. He is sitting on a cushion in the same posture that Buddha images always have. The large head ornament, if formed from cord, is originally composed. Sitting in confinement and meditating in the forest, with crossed legs reciprocally laid, and beside himself is a sacrificial burner, from which smells take off. The body has lost weight as a mark of a long and strict abstention, seems he does nothing to consider the person, decked with jewels, in sembah attitude who is offering him mangoes on a offering plate. The second person keeps an arrow bent in the left hand; the right hand is open, as if he wants to invite the misery of penance for something. The third offers a bag, which possibly designates treasure. A parrot sits on a mango tree branch; a second bird (on the left) is flying towards the first. 

Relief 2e2, also 94 cm long, den Hamer thought portrayed the Buddha but this is actually a monk because the main figure has no usnisha or urna.Sitting on a cushion between two trees, his left hand lies open in the lap and the right is raised as if in refusal. Of the three persons and the elephant which does not carry a chair, the first as the head protagonist supports a high and decorated head ornament, rich bracelets, a wrist ring on the left arm only, and a long garment with a scarf. Of his attendants, the one has a long sword tucked under the left arm and the other a weapon for controlling the elephant. ⁷

In relief 2e3, we see a snake in the triangle, of which the head is lacking, in a raised condition and an animal that den Hamer thought to be a uprising dog. As is also the case on the left-hand side of the staircase, here the area is additionally [filled] with a tree, which, as elsewhere, represents a forest.

In relief 2e4, the right back image in standing order thing is a Buddha (a monk) with a fallen down sun shade, himself afraid to defend against a fighter with a club in his right hand. 

On relief 2e5,a traveling woman is busy trying to obtain something that is contained in a box; a necklace has already been removed and she keeps that fixed in her left hand; her girl-friend wears a couple of ear buds, fastened in a way that is now seen as usual. A man removes a cane from the shoulder that supports a water jug and still something else is covered underneath his hat. He turns back to consider the two women. It is possible he is going to offer food and drink to a hermit, and so is willing the women to give him their jewels. 

In relief 2e6 only a snake is still visible in the triangle with a seal ring hanging below the mouth, which reminds one of the fable concerning the crow and the prince. ⁸

In relief 2e7 we see a penance-seeker underneath a tree and with his hair ending in a stopped bud behind. The first woman gives a part of a fruit to him while her female friend holds a water pitcher. Further there is a scale on three feet; what lies on it is not recognizable, possibly a large wafer, all of it not under a round lid. In the triangle a part of it can still be seen falling onto a rock. Of the rectangle and the triangle in the 4^th rank only the list remains with 2 bowed forelegs, possibly those of an elephant. 

What is introduced at Borobudur in a large number of reliefs, (on the Mendut) only some reliefs are similarly dedicated, chiefly those on the wings of the staircase. However, C. den Hamer though there was still enough to have enabled the people to recall at least one of the Buddhist Jatakas from memory; to bring about the same results one also finds still more reliefs on the 2^nd ambulatory, which will be described in the next section.    

It remains to be noticed, that in each field on the right-hand side a different species of tree is presented.                  

§2c. The Reliefs of the second ambulatory     

The floor of the 2nd level, at some places tending to erroneous movement within, is made of flat stones of all kinds of dimensions and has a breadth of 2.20 m. Baked andesite stone is found under the flooring. Den Hamer noted that the surrounding ring wall was very broken at the front of the Candi, damaged and scattered in a lot of places with piles of stones mixed with exterior ornaments, and also turned bottom side up, which did not originate from the balustrade but rather fell down from the super-structure.  

The outward projecting corners of the ring wall do not carry any ornaments; the crown- and the foot-railing is treated; only the cube is decorated on the inside and only with diagonal bands as a lattice or netting; over and above this in the residual half quadrant, half-rosettes have also been introduced, which only occurs fully in the middle of the quadrant rank. Two bands lay on this decorated cube, which are covered by three outward projecting bands, all flat, level, smooth. It is wholly enclosed by a stone layer, the top slab of which is 38 cm broad in the middle and on both sides by a half-bell shaped ogee. 

On the 2^nd ambulatory we still find a truncated cone nearby, which on the base area has a resource line of 84 cm, with a slantwise height of 51 cm. Within that base structure is saved a four-sided pin measuring 34 cm per side. Undoubtedly the stone came from above and constitutes a subdivision of a stupa, probably coming from the highest layer with the previously called finished measurements. 

On the right-hand side, where  the great wall areas B41, B42 and B43 also remain unharmed, one finds a balustrade that is still in a good, standing condition. Den Hamer noted it was therefore entirely possibly that it had remained in its original condition. 

The number of spouts amounts to 4 x 2 nearby the four outward projections of the sub-basement and when each angle is considered individually, total 12, of which 2 reside right at the Candi while 6 others inherit a greater distance. The spouts have the forms of makara pairs, yet do not behave like images. 

The 2^nd ambulatory allows one to contemplate the encircling range of bas-reliefs located on the partition walls of the Candi; they are grasped at the right corners in a double-jointed framework and are numbered beginning with B1, i.e., B8 up to and including B10; B15 to B17; and B22 up to and including B24 on the 3 outward projections (Plate XIV and Plate XV). Furthermore there remain 2 x 2 or 16 smaller ones on every angle of the foot-member of the portal’s 2 x 3 great rectangles. 

On the 1^st ambulatory the 51 fields are decorated with images and flower-work crowned by antefixes; here we find 31 fields under the banister, 1.20m above the floor, that are presented within a decorative band that loops around the entire temple, including the porch area.

Garlands have been incorporated in arcs and their bands, 22 cm from one another, decrease (into) a bud with seed bundle and a single leaf, always placed in variable half-wise shape that hang from their loop end points. 

Scene B1 on the (porch) projection, according to the plan provided, is 2.0 m long and 50 cm high. The middle is taken up by the shell located there, which rests on a bowed planting with three feet. From out of that rises a stem ending with a open flower; to the sides are shoots that descend in drawn lots that later rise to form a bowed line, branching off with rolls that go up to the left and right, bending at the ends, which finish in great flowers; parrots sit above it, which are especially noticeable here, but also elsewhere in the scene varied with the same plant, other birds are presented, serving to enrich the ornamental treatment, in the middle of which one always finds a main character that proves to be the chief example from the (corresponding) tale, to which these parrots do not belong as intrinsic components. 

The composition of the decoration is symmetrical; the version is carried out strongly.  The field is somewhat defective and (so) the glorification of the imitation foliage that had originally lain on top of the band is no longer present. 

Scene B2, of which the stone what from yielded from reciprocation, has at its middle a heron (reiger) standing on a flower; two more parrots are in the upper corners. 

At the middle of scene B3, which measures 177 cm by 46 cm without the framework, is a beautifully decorated shell that is standing on a flower; here there are also four flapping parrots, each one (perched) on a flower.

Scene B4, which measures 116 cm by 47 cm, displays a bird with a long, straight beak, and with its wings outspread; there are also two birds with outspread wings on the flowers to either side. 

Scene B5, which is of equal dimensions, has a parrot in the middle of it as the main character, standing on stems that sprout out from a broad bowl; on the west side of the ornament is a parrot. 

In the middle of scene B6, which measures 113 cm by 74 cm, is a long-tailed monkey who has gotten hold of a weaver bird’s nest that hangs from a brushwood; the two (possibly Sri-goenting) birds in this ornament stand on flowers with open wings. The fable in the middle of this relief is known from their acquaintance with the monkey, who takes his revenge on the birds because they had laughed at him when he was stiff and cold after staying out in the rain. Due to his lack of precautions, he goes to a glowing mushroom to get warm. In anger, he fell to blaming the birds for his present (unenviable) condition of living.  

Scene B7, measuring 120 cm by 54 cm, displays an elephant, precise in its design, with one mouse on his head and another one on his back. They are busy nibbling on the ties that bind the elephant at the neck and body. Once again a fable from the Panchatantra comes to mind, which recounts how an elephant initially had saved two mice from danger, but later on - when the very same elephant was captured and then bound to a tree - it is the two mice who deliver him from captivity. 

Scene B8, 2.86 m long, is highly damaged; yet it is still possible to see a sitting jackal with a neck collar and a lion with a mane who appears poised to seize the head of another animal. Of this head not enough remains to arrive at a sufficiently precise identification; too little is left in the middle of it to allow us to determine which fable is meant here. ⁹

Scene B9 contains a bull, behind which is a jackal, on each of the 4 flowers there are images of birds in flight. 

In Scene B10 a tiger drags a monkey over the ground by a rope that is tied to the loins of the monkey and to the body of the tiger. An old jumbo derrick sees them approaching. "Excellent,” said the jumbo derrick. “Here comes the monkey who I told to bring me two tigers to eat daily, but now he brings me but one."

The temple has an outward projecting middle along the floor of the 2^nd ambulatory, having a length of 7.20 m and the breadth of the projection is 65 cm; the whole side containing scene B6 up to and including scene B12, has a length of 13.70 m, which also applies to the rear for scene B13 as well as up to and including scene B19 and the right-hand side, where scene B20 up to and including scene B26 have been introduced. 

In Scene B11 is a snake, who wants to seize a badjing; the parrots here are portrayed somewhat smaller. 

Scene B12 shows a shell standing on its point, beside which stems bend to the sides; 2 birds are also here. 

Scene B13, 115 cm by 44 cm, the first on the back side, portrays a bird of prey (woeloeng?) seizing a small parrot (betet) with the left claw and a second with its mouth; 2 further parrots in flight.

In Scene B14 we see a facing bird of prey, with the wings spread out and holding a stalk with 3 leaves in its mouth; two flapping birds are also on the flowers. 

In Scene B15, 1.88m long, is located a sickle moon on a lotus flower, and a further 4 ascending parrots.   

In the middle of Scene B16 is portrayed, are less easily determined, but there are very many agreements with scene B3, as this is probably strongly modeled on the main standing shell theme; on everyone of the 4 opened flowers there is a bird with outspread wings.

Above this scene one finds some marks on the flat treatment, on others there is a triangle with an extended side, which we think we must grasp onto as marks, introduced there by the stone-cutters, in the large wall areas to deliver and to remember the agreement of the parties. 

Scene B17, as well as scene B15, has a crescent moon rising on a lotus flower and four parrots in flight. The flower ornaments are kidney-shaped and equal to each other in size. 

In Scene B18 there is a parrot with its mouth wide open, possibly to bite off a branch, or bite the chain by which she sits bound; in each of the corners there is a bird in flight.

Scene B19 contains a bird and 2 tortoise shells in each of the corners of the ornament. 

Scene B20, the first to the right of the square, shows a shell standing on its point as the counterpart of B12; furthermore, there are two birds. 

In Scene B21 we see a reiger bird in the middle and 2 birds in each of the corners. 

Scene B22 displays a male elephant, and the rear end of another animal is still visible, possibly a ram. 

Scene B23 contains 2 stags, one male and one female, which are quietly located beside each other.

Scene B24 displays a lion with a jewel necklace on the right foreleg and a fly pallet lies on the left shoulder; compared to the lion with 3 mice, of which the tails are lost in the rolling up of the ornament, which Panataran also presents. A trident with grain band stands perpendicular in the middle of the field; further still there are four parrots. 

In scene B25 we see a heron flapping its wings because a crab is pinching his neck, suggesting an acquaintance with the (Panchatantra and Jataka) fable of the heron who feigns both piety and abstention and attempts to deceive the fishes by promising to take them one-by-one to another spot only to eat them there. 

Scene B26 shows a monkey on the back of an alligator in the center of a river. With the right forepaw he seizes hold of a branch; the right hand is held above the head. In relief therefore we have the history of the fifth of the last narrative in the Panchatantra, which is of the monkey who left his heart in the tree, then the alligator attempts to take him to his female mate, who claims she must consume the heart of a monkey as a medicine.

Scene B27 shows a peacock with outspread tail. In Scene B28 is a parrot (?) facing with outspread wings and a large beak. 

In scene B29 also comes a shell that is displayed on its head, as with B3; furthermore, 2 birds are placed on the lower and 2 more on the higher flowers. 

Scene B30, of which Dr. Brandes made C. den Hamer take notice, shows a bird with two heads. The first head has its mouth in a brush-wood in which poisonous fruit grow, while the other is bent downwards to seek food as well, which shows an acquaintance with the fable of the double-headed bird, of which the bad half causes the misfortune and the death of the other good half. ¹⁰

The last scene, B31, which is the counterpart of B1, flanks the staircase to the porch. The distance between these 2 fields from frame to frame is 2.64 m and the projection of it, including the area with the staircase, totals 7.30 m. 

From this survey it appears that there are 22 fields in which scenes from the animal world are displayed; furthermore the shell or conch theme is found seven times and the upturned crescent moon on the lotus flower is presented twice.

It is deserving of our observation that in scene B15 and B17, where the crescent-moon form occurs, only blue jays (pape) are rising there; on the remaining fields other birds are always [portrayed] in flight, or appear to be standing on flowers. 

In the large scenes, there is sufficient room for the broad development of the aureoles and flowers as ornamental decoration, with the birds giving the impression of space. They emanate thus from middle, for the side flanks are each time developed in two beautifully decorated ranks; in the smaller areas, space was given for one rank in each case. In decorating the panels, the whole testifies to the [builders’] taste and use of half-measure proportions.

With regards to the regularity of group, form, and organization, only through deep study of the sets of leaves and flowers can one see how such ornamentation was possibly devised, unless those on Java are only mere imitations of models from Hindustan, depending on the increasing or diminishing areas. 

The symmetry is also notable here, and not only in the under portions to be seen, but also in the distribution and the arrangement of the panels at the foot of the building, which is very harmonious. Judging by the middle of the back wall of the temple, B16, which possibly shows it was modeled a great deal on the thick-end of the standing shell, one finds, either to the right, or the left the temple axis, successively: a rising moon, four small panels (of which the third shows the shell standing on the point), three large panels, four smaller versions of the same large panel (the shell standing on the thick under-end), a second large panel, and finally showing the placed shell, which, if last in the range, is adjoined to the porch entrance.   

It occurred to C. den Hamer, that the scenes on the 2^nd ambulatory when read as an anthology causes the eye and heart to open for the lessons about to be proclaimed and shows the penitent manners in former centuries that were of such a great value to the people and the nation, and that had continued to live on up till modern times.  

§2d. The walls of the second level - the three main scenes

The three projections (B36, B39 and B42) above the wainscot-band contain an elaborately-treated image grouping in high relief, forming with the walls an inseparable whole and accompanied by a flowing top part (the anten) that is 44 cm in width.  The shared ranks, which are themselves on the sides but ending up in the middle as ornamental covering, correspond in form and number in each area; on three out of the four walls, pure symmetry is followed with respect to composition. The correct half-measure proportions of the main image in the middle, to which bands are placed on the left and right, does end up to be beautiful in terms of arrangement.  

The remarkable topsy-turvy make-up of the temple’s decorative styles and architectural order forms a single, undivided, and distinct command. Through his broad treatment and in the execution of the decorative details, the artist has succeeded in his pursuit of simply and clearly establishing the destination of the people, the steps around the square of the temple audibly collected, as a place of religious homage.

The wall area B42 remains entirely whole; on the left-hand side B36, the upper layers are damaged, which is also the case to a lesser degree on the back side (Plate XVII). ¹¹

We shall begin with a description of the great wall areas above, beginning with the one on the back (Plate XVI), which is itself in harmony with the direction of the development below, with regards to the two decorated fields of the sub-basement on the west side of staircase (i.e., A1 and A51).

The height amounts to 4.24 m when measured from the edge of the scene to the beginning of the cornice.  What first draws our attention is a four-armed figure standing on a lotus cushion. It measures 1.48 m, or about one-third of the height of the entire area. The cushion itself rests on a fitted carpet, unsupported by any animals or base, and next to which are burning candelabras. The carpet displays smooth, parallel folds. 

The figure’s large head ornament is somewhat damaged, so that it is no longer possible to see whether it had formerly carried the characteristic ornament or figurine typically found on images of Padmapani; flower jewels hang from his elongated ear lobes and a jewel string hangs around the neck. The oepawita has not been totally demolished; partial stones are yet sufficiently visible concerning the whole upper torso to allow us to adopt it as having been introduced.

In the rear left-hand is an elongated palm-leaf book; the hand is held open with the palm forward for inspection; and the rear right-hand holds a rosary. In the left-forehand are long lotus stems that terminate in buds that are held away from the head. On the side rises a second flower stem that begins at the level of the altar, if only to give it more height. It supports on its bud a water-jug with a stopper. The front right-hand is broken off at the wrist.

The upper torso is uncovered; the lower-hanging belts, to the right and left of which a ribbon is snared, hangs to the knees; the head ornament, which does not display a rosette in the middle, does incorporate a band that hangs down nearly to the ankles. The halo remains unfinished, which is everywhere the case with the halos encountered on the Mendut; the whole image is characterized by a certain degree of simplicity and puts no elderly person forward: a moustache bar or beard has not been introduced. ¹²

On either side of the main image stands an altar on which a round carpet lies, decorated with concentric decorations, both in the middle and on the edge. The three altars are of equal height; the middle one is of firmer and broader construction, as it is supporting the main image.  The treatment for the raised support of this altar consists of the faithful execution of an elephant between two lions, which are not wholly equal in size. 

The female figure to the left (B39a) is seated in a forward leaning posture with raised knees, with the hands opposite one another and with their finger tips pointing upwards. She has a halo and a tall head ornament that has been beautifully decorated. The distance between the lotus bud, in which the decoration finishes, and the lotus cushion on the altar, amounts to 65 cm.  Her hair hangs in locks that lie on the middle of the back. The three neck folds are present. A beautifully developed jewel necklace still hangs from the shoulders, passing underneath the full breasts and tied behind the back. Arm bands, bracelets, and ankle rings make up the final decorations. 

The female figure to the right of the panel’s mid-section (B39b) is of approximately equal dimensions. Against a closed sun shade is a head ornament that finishes in a bud from which three ribbons flutter. The figure is very damaged, with little still remaining of the necklace and collar. Her long curls hang down in coils. The left hand rests on the left knee and holds the stem of a flower, the bud of which is demolished.   In her raised right hand lies a flower. Long stems cover the garments on the lower part of the body, which stream downward and onto the round floor mat, which is not the case in the first image. 

Stylized trees rise above the halos of the three images, and overhead is once again a sun shade with fly fan. The three trees differ in form, with middle one the largest. In two of the trees we find a bird also, possibly a peacock in the one the right-hand side, but the middle one cannot be specified. 

Above the two small trees are floating divinities on clouds, with their heads tilted downward and not displaying the sila attitude. They wear bandoleers, beautiful jewel necklaces and two decorated hip hands but are without the ear-, arm- or wrist-rings; the large head ornaments are treated without halos but at the tops are provided with fluttering ribbons. The left figure has a raised right hand that holds a stem with an open lotus bud, whereas in the clouds there are two flowers, one above and one below. The index finger of the left hand, which rests on the left knee, points to below. At the right we notice the figure in the clouds has broad ribbons on the right-hand side that are the ends of the bandoleer. 

Concerning the upper portion of this field, some of the outer layers of stone have fallen down and are partially piled up along the ring wall, which is also damaged here. A part of the entire decorated curtain remains, showing that the ornament agrees mainly to that which will be treated more closely in the intact wall area to the West side and, what will also take place with the decorated pilasters and with the smooth, flat bands, the field to the left and right closing, which in equal number also is present on the left wall face at B36. 

On the bottom edge of the pond we spy 17 petals, adjoined by a thin beam that is 2.68 m in length. In the ripping water swim five dolphins underneath lotus plants, with some already flowering, while others are still in the bud. From the middle of the pond two beings with human characteristics rise out of the water to the height of their hips, which are comparable to the sea gods (Tritons). Above the heads of this pair of figures we see crowns that are composed of three snakes, all in a line, as well as ear jewels, neck collars, serpent bands and bracelets, which are only found on the right hand.  The upper bodies of these sea deities have characteristically human conformations: the loin garments cover the part of the lower body that is still above the waves. 

Their appearance is quiescent and nothing else is present, leaving us to think of what sea monsters might do to commit a sin. We have here without doubt a clear display of the so-called naga-princes or naga-princesses, in conformation with human characteristics. From the base of their torsos, at a height of 50 cm, a lotus flower provides the support for a cushion upon which a female figure with 2 arm pairs is seated. That they are the various supporters of the great lotus flower is clear; the torso of the man that provides the actual support, aided by the nearby female (B42a).

The great image, measured from the top of the large head ornament, is 88 cm in height. Her halo is roughly worked and her hair curls roll up on the shoulders; furthermore she wears bands on the upper arms as well as simple thick rings about the wrists. Part of her breast area is somewhat damaged.  In her upper left arm she holds a palm-leaf book in the upper right hand she holds a rosary. The others two hands lay in the lap, the right above the left, supporting a flower. The distance from knee to knee equals 72 cm. On the left shoulder there is a bandoleer that decreases underneath the breasts; the folds of the lower body garment fall downward onto the cushion.

Somewhat smaller figures sit on the sides. To the West and seated on a somewhat lower lotus flower, which is also rising from the waters, the figure is provided with a halo (B42b). A raised legging band goes around the knee that is supported by the body. The image to the left has a lager head ornament, which is damaged, among those which first come to light is the long hair that curls onto the shoulders; the ear decorations, jewel necklace, bracelets, and ankle rings are present: the sacred cord hangs in a curve. The right-leg, sleeve is folded, supported by a band that stretches out to the loins, an attitude that is sometimes adopted by head-dress supports, as a means for sitting at ease. The right elbow is supported on the knee and the hand holds a stem that finishes in a bud that is held off from the head ornament. The left hand, which has fingers that are somewhat outspread, rests on the thigh and seems to hold something that is folded, which does not belong to the bands of the garment covering the lower body, but just what it is has not been expressly stipulated.

The image to the right of the central figure (B42c) sits in an attitude of equal order, only with this difference: here the left-limb is raised. His head ornaments and body decorations are equal to the main example.  The left hand equals its counterpart on the left by having a lotus, still in the bud; the right hand, which is held at the height of the breast, bends the index finger an inch.  

Left and right of the (central lotus) prop we find columns…out of which rises a large tree-like ornament consisting of branches and flowers, enclosed by a flower in bud; on the left a bird can be seen flapping his wings. At the foot of each column stand two barrels tied up with crossed cords and two with decorated vases with closed plugs that are tied up with crossed bands, possibly to indicate that they contain holy water. 

The tree above the middle figure is of greater dimensions; the column is not seen as it is in back of the figure’s halo. To the left and right we notice squirrels in its bottom branches; on the 2^nd branch there is a goose and above this once again are two geese, of which the right one has something in its mouth. 

It remains deserving of observation, that upon our first consideration the bottom branches display the impression that they are made out of armaments. When examined at a distance, there appear to be 6 flags, 3 on the left and 3 on the right, at the ends of which are folded decorations. The long leaves with developed points, correctly coming from above the first-half of those flags, from the stages already seen, give us reason to think of keris-handles.

Above this tree is an open sun shade with fly pallet and the stem, below which are the three figures belonging to the impression, since the lower trees are removed beyond what is in the middle and only serve as the above-communicated shelter for the barrels and vases on the banks.  Furthermore, the upper area is occupied by two divinities in the clouds, with their heads tilting downward, behaving in the sila-attitude; both have halos, whereas on the fields B36 and B39 the divinities there do not have them. The hair curls hang down onto the shoulders. What lies in their open right hands is not recognizable; the left hands rest on their left knees and seem to hold a stem that terminates in a bud. Only bracelets, wrist bands and ankle rings are lacking. The figures’ right hands are also open and turned away from their bodies. 

The entire group is crowned by a much-applied motif for partition, portal or niche decorations. It is an arc that is decorated with a huge human-like head and face at the top, with two monster animal limbs for its legging. To be found on the outward projections, this motif also occurs on the 8 smaller wall areas of the temple as a compound ornament. This decorated head piece, which on Java is usually called the Lord of the Forest (Banaspati), is missing the lower jaw, has fangs in the upper-jaw and is decorated underneath with hanging branches, globes and flowers that terminate in double ribbons and bead strings that hang from the middle of the mouth in increasing lengths.

They are frequently decorated in a closed piece display with light fluttering coquettes, playing out further by rising into the wings of the nose, the ball walls, while not cutting into the lower part of the sharp bend, the strong-looking protrusions being applied with an acute eye. The small ears are sometimes decorated and the face is always covered with an ornament to the left and right that consists of swinging rococo-lines, moving from the larger to ever smaller dimensions, so that the whole falls appropriately into the equivalent of a right-angle triangle. At Candi Mendut this is achieved by means of a covert flat band, so that the ornament that designates the hair only seems to appear chiseled for half of its height….  

On the bands of the decorated pilasters, with those in the left area vertically closing on the right, are seated dwarf (gana) figures with the stems of near-hanging flowers in their hands. These supporters are decorated with neck collar, ear buds, wrist rings and a hip-cord as an abdomen band, with the torso seated on flat vegetation, upon which a lotus cushion lies. 

There the upper part of both of these other animal ornaments of the arc, a head and profile, an open maw, the snout nearby withdraws backwards, teeth in the upper and lower jaws, and the long fangs of the upper mandible, and behind the small decorated earlobes is a line of bent quasi-horns.  On the neck there is a decorated band, which has also been introduced on the back of the snout, and on the ring there is always an ornament. The forelegs of the animal, here also seen, are in the attitude of repose. However, the body is lacking….    

The arrangement of that which is already represented on this wall is symmetrical with respect to the perpendicular, that measures 4.24 m, from the middle of the field, that which is again between two decorated vertical bands.

The slender ornament increases in spiral-forming inward curves to and turned to the outside alternating 8 or 9 times, the full significance and beautifully treated; the small lions are themselves a load to the foot of 22 pilasters on the Candi as a whole, yet always placed in either a half-standing or seated position.

The great wall area to the left, B36, is missing 5 stone layers above, from which a stone lies against the balustrade, so that of the decorated head piece above the middle little remains. On a lotus cushion a female figure, which is seated underneath a sun shade, has eight arms and is flanked by two standing figures that are 128 cm in height, for which sun shades have also been provided.  The pedestal in the middle, which is 52 cm in height, supports a second that is 26 cm high, which corresponds with those upon which the two other images are standing.  

On the cube we see two rosettes to the front face of the West side of the middle pedestal, on which, although not clearly, an elephant is presented. On the others, no elephant or lion has been introduced. 

Concerning the large head ornament, a bit of sharp kelk-leaf has been introduced at the top, although not much remains of the face. The neck folds are clearly visible, as are the jewels in the elongated ear lobes. Her hair curls onto the shoulders and she has beautiful bracelets.  On both of the shoulders hangs a double female-necklace between strongly developed breasts that are tied up with a flower ornament. Concerning the garment covering the lower body, the stone there is eroded, thanks to which the course of the cord can no longer be followed.  The left foot lies with the sole upward on the right calf.  The attributes on the right side of the body going down are: a rosary, a chakra with 4 decorated spokes without flame or wing, a double trident and a shell.  The uppermost attribute on the left is no longer present: the second is an elephant goad; the third is an axe, and the fourth is possibly a plant. All arms have wrist bracelets with closely spaced stones. ¹³

The halos behind the heads of the standing (male) images are not decorated as was the case at the other figures to the edges. The right misses the head ornament and the face; the curls onto the shoulders can still be seen; jewels in the stretched ear lobes; neck folds; another necklace, bracelets and wrist rings, cord, bands, snare and slide down the lower body garment. The right hand holds a long stem that supports a lotus bud. The left hand, which rests on the hip, holds a stalk with a tail on the upper end (i.e., a fly whisk).

Concerning the figure on the left (of the seated goddess), the head ornament is partially broken; the breast cord (oepawita) consists of three strings: the feet are infected by marginal blight as are the halo and a stem that supports an open flower. The right hand rests on the hip and holds a stalk at the end of which is fastened a tail. At the temples on Java these stances display a very good feeling for showing the characteristic proportions of the human body.  

Above the halo in the middle of the scene rises a column with capital, upon which rests the trunk of a tree with outward spreading branches, leaves and some flowers. Here we see two birds with outspread wings and long tails; of these which is the greater is somewhat unclear. 

A drape hangs in curves from the bottom branches with knots at the node in accordance with both other wall treatments. A sun shade crowns the tree. Also here can be seen two divinities floating on clouds, with their heads facing upward and in sila-attitude but without halo or cord. Concerning the raised hands, the pinkies are somewhat bowed and mutually touch one another. 

§2e. The walls of the second level - the Bodhisattva reliefs

After these three large scenes follow eight more at the corners, which are of a lesser breadth but of an equal height of 4.25 m (B34, B35, B37, B38, B40, B41, B43 and B44). The seven figures that remain to be seen are presented in high-relief and in a standing attitude. In size they vary between 1.54 m and 1.60 m. All have halos, from which it may be inferred that that the now very damaged 8^th (B44) figure at the front of the temple had also been provided with the same.  Under all there is a pedestal without a projection, without lotus cushion, lion or elephant.  The head ornament is large and displays several decorations. The ever-present halo is always presented above together with an open sun shade in model form that presents a rich mixture that ranges from fringes and buds to masses of strings and wreaths.

The first figure (B34) stands on a tall lotus stone…holding a stem on the hip, which finishes off the left shoulder in a flower upon which rests a sphere topped by a flame. The hand of the right arm is also held bowed without the bent finger touching the thumb, but rather resting against the middle finger above it, even as the ring finger and pinkie is directed above. On the left and right behind his ears and beside his locks of hair, appear two flower stalks. Furthermore the garment over the lower body is held up with a band, for which a serpent has been introduced at the side. The breast-band (oepawita) is to the left and at the middle of the body (between the chest and the belly) there is a decorated cord; such cords can also be seen on the 2^nd, 6^th and 7^th figures, but there they are always of a different form; as to the state of the now-missing 8^th relief it is no longer possible to confirm.

The 2^nd figure (B35) holds the thumb under the left hand with the index finger fixed on a stem that is held off the shoulder and supports five buds. The right arm hangs at the side of the body and the hand is completely open. In the head ornament is a niche in which there is a model of a Buddhist relic temple or caitya: at the top of the ornament is a 4 cm depression. The head and the left hand are damaged and the pedestal has a projection. 

The raised left hand of the 3^rd figure (B37) holds a short stem, which divides into three buds at the height of the shoulder, with the middle one being the largest. As was the case in B35, the right arm hangs alongside the body, with the palm of the hand turned forward. The large head ornament finishes in a bud, the cord is broad and the sun shade is beautifully decorated. The pedestal also has a projection.  

The left hand of the 4^th figure (B38), which rests on the hip, holds a bowed stem that at the height of the shoulder splits into three parts that support three buds of which the middle one is the largest. In the open, raised right hand there seems to be a rosary. The pedestal, which is without a projection, is 40 cm high. The oepawita, which consists of two strings of beads, has a bud at the level of the breast’s nipple and decreases on the left thigh. The face gives the impression of (Indonesian!) youth.  

The 5^th figure (B40) stands on a pedestal with a projection and holds a javelin with both ends sharp in the raised right hand. From oepawita string is held with the left hand and the head bends a little to the left. However, it is noticed that the jewel in the left ear is a round disk whereas to the right a flower hangs down. In this scene there is no lotus. 

The left hand of the 6^th figure (B41) holds a stem that does not begin at the feet. The terminating bud has three spear-formed leafs and on the unopened flower rests a palm-leaf book. The right hand, which is raised to the height of the shoulder, holds a small cone-shaped object. The bottom edge is somewhat damaged.  

The raised left hand of the 7^th figure (B43) holds a shortened stalk off the shoulder that ends in an open flower on which a plate rests. To one side, a vertical, double-edged blade has been introduced. The right arm is bent along the body with the hand open, which is also the case in B35 and B37. The pedestal has a projection. 

Concerning the 8^th figure (B44) only a portion remains undamaged, i. e., the left hand holding a stem on the hip, a part of the oepawita, and part of the cornice of a pedestal. Of the pilasters in the last field little remains, just enough in order to display that the decoration entirely agrees with the other 7 fields. 

These eight standing figures with halos and breast-bands, their bodies identifiable by their attributes and the manner in which they have been presented, issue forth from the rising lotus. One therefore thinks of the bodhisattvas that elsewhere are found seated with one leg hanging down from their seat-cushions. 

Like the three great walled areas, they display makaras on lotus cushions supported by gana figures and bands of decorated pilasters, with their faces in profile directed at the decorative monster head in the middle. The bodies of the makaras, which from the nature of the examples are shorter, have been entirely treated in an equal fashion in terms of their decorative elements. 

In describing the scene under the wainscoting band, one notes the care and attention that has been lavished on decorating the band as if it were a crown, as is the case in 3 out of the 8 panels described above. The whole of the temple is decorated with approximately equal ornamentation, which in the flat bands of the cornice is harmonious and even more powerful due to its curved garlands and comely parrots with outspread wings. The parrot heads alternate to the front or behind, which ends up becoming a revolving loop in the horizontal direction. 

§2f. The portal

The protective covering of the porch, which is 5.60 m long, has collapsed so we can only guess at its original composition (Plate VI). The form of the head of the porch corresponds to the body of the Candi, the terminal part equal in form and number from which the nature of the example had smaller dimensions and had been introduced to a subordinate height. 

The ogee framework on the right-hand side is wholly present and equals 3.65 m of which 12 cm must be deducted for a split stone that has moved from the path. (Translator’s note: an ogee is used on a wing which in plan form has a double-curved leading edge, the curvature changing sign between root and tip. The sweepback of the leading edge thus first decreases and then increases again while going from root to tip.)

The decorated wall area opposite has a length of 2.56 m. The smooth, decorated pilasters have a flat band, and the framework of its decorated field, separated, which is not the case on the temple’s three great wall areas.  The decorated pilaster is 18-cm wide as opposed to 36 cm on the wall areas opposite. In addition, the small lions are lacking at the foot, yet the bird claws provide a dash of spiral-ornament. 

In field B45, the image of a woman is still visible that measures 85 cm from the shoulders to the feet. The left elbow rests on the left hip; the band reaches to the breast, under which there is a flat band; the bowed index finger touches the top of the thumb. The lower body garment stops in 3 bands, each of which is beautifully folded, from the middle of which ranges one of the three bands. The garment hangs down almost to the feet with slips for the sides, and the right leg is slightly raised. Except for the bracelet, wrist and ankle rings there is still one trace of a jewel necklace and slightly caterwauled curls are present. The right arm and the head are not wholly present.  

Of the image to the left, two feet still remain together with portions of a low hanging dress. A little further on, a left foot with ankle ring can still be seen, thereby establishing that three persons were originally presented on the wall area located on the right-hand side of the porch. 

On the left-hand side of the porch, three stones are still present for finishing the component of the decorated pilaster…. To the right is a stone upon which two thighs appear.   Little remains of the (portal’s) decorated wall area, but what can still be seen is sufficient enough to show that on the outside of the porch two decorated fields had been introduced, B33 and B45; for the framework on the west side as well as the frame of the upper portion, with its Banaspati and dragon-makara, are in accordance with the larger and smaller walled areas of the body of the temple proper. 

The front of the porch, which is broken by an entranceway that is 2.06 m in width, would have provided a place for two additional standing figures. Only 2 stones of the bell-shaped ogee remain to give an indication that the band work also looped around the front.  The connection between the porch and the main temple has been achieved by means of a supplement of stone layers decorated with rectangles in a flat band, of which the upper framework is still present. 

The decoration in the rectangle, which is 65 cm broad and 1.2 m high, consists of four half-joined, inside-loops that bend inwards with three leaves towards each of the junctions; on the bottom and upper, or 14^th layer it has been introduced three times fully and once at half; on the 2^nd layer twice entirely and twice at half, left and right; on the 3^rd layer three times fully: and the 4^th layer is equal to the 2^nd, so that the vertical area has the aim of rising. 

In the intervening space, a range of quadrifoliate panes of diamond mesh rosettes have been introduced, so that they entirely form a simple, but nonetheless beautiful, decoration for a wall screen, which draws little attention to the partition. 

With regards to the way that the roof of the porch once connected with the main body of the temple, I am unable to conjecture. 

A small staircase with three steps leads up to the entrance to the portal. The floor of the bottom area lies 75 cm to the front of the 2^nd ambulatory. The covering was formed by the mutual approach of the layers to one another, of which some with decorations are still present at their original places.

On the front of the roof there was a great “Lord of the Forest,” which was adopted here as a triangular tree; it is known especially because we have inherited a copy, of which only a portion remains and which can only be assigned to another spot (on the building) with great difficulty. The interior door styles are also intact but the first is only partially present. 

On the inside porch walls there are four decorated subject areas on the west side, including ⁸ three decorated bands, of which two can be counted as belonging to the roof, seven layers of which are still standing and two heavy entranceway stones were located approximately above the sanctuary doorway. 

Field C1 is a smooth ornament, of which 1.40 m in height is still visible. Its breadth is 42 cm…. A comparable field to the right of the entrance has an equal height and is filled with ranges of rosettes…. The side is taken as a flat door decoration and since it occurs twice, this possibly indicates it was meant to be an open-standing door. 

Concerning the 1.62 m partition, it recesses on the west side by 48 cm. Here we find scenes C3 and C4 presenting the offering of gifts, for which the place was rightly chosen because those lead to the interior, where the great Buddha image is enthroned.

Grasped in a simple frame, Scene C3 is 1.12 m wide and 1.54 m high. It is half-filled with fantastic trees, among which there are three vases and two figures. The vases are of equal size and have stoppers that are richly decorated with pearl bands, so different from the horizontal, abdomen-like, balls (in C4). And this possibly indicates the high significance of what is implied by the other one. Beyond the middle of the cultivated rice field a column rises on which a decorated capital has been placed. Approximately above it are three great open flowers that come together to form a heart out of three small leaves. Amongst the bent spiraling branches is a foliage form that corresponds with scene B31 underneath the railing of the second ambulatory. 

On the west side of the column hangs a branch with three flower-spheres, attached to which is a long flower crown with seed-bundles that finishes in a flower, except for the middle where this end in a bud. On these flowers are hung festive chains made up of pearls. Since the whole is crowned with a sun shade, it appears that the trees (in C3 and C4) correspond with those that appear in the three large façade treatments (on the cella itself). 

In the lower portion of each of these fields, two figures are seated in the djèng-kéng posture. The (female) figure on the right holds a scale with a round lid in the palm of the right hand, decorated with a quadrifoliate flower with a bud in the middle. The scale is supported by the left hand. The head ornament is decorated, the ear hangers are diamond pane forms, the neck folds are visible, and the neck collar, upper arm and wrist rings comprise the remaining body decorations. The lower garment, which reaches almost to the feet, is simply tied up, yet even lower is a pearl string that consists of square arch-stones. 

The figure on the left ? a man wearing short trousers ? holds something in the palm of his left hand, from which a spiral in 6 rings rises upwards; the right hand acts to support this object. The body-decorations present include a head ornament with a flower on the front, diadem, ear- and neck-jewels, wrist bands, and a band with a clasp on the hip. The neck folds are lacking here.

In this scene we encounter two gandharvas [kinnari] for the very first time as the keepers of holy objects, sitting on the highest branches of the tree. These bird-like creatures have the upper body of a woman but are lacking arms. The vocation which they perform at the throne of the highest gods is to sing hymns of homage. Below them are only gods of the second rank and their presentation in this scene indicates the high value of the offering, for which they are prepared to fight with dragons and snakes for its possession. 

Four stones lie above the frame, belonging to the decorated bands; the 1^st corresponds with the ornament under the railing wall of the 2^nd ambulatory; the 2^nd, where a bird with pearl beads stands at the transition; and the 3^rd, where only the pearl band is still present, lie in the correct place. Concerning the fourth stone, its correct place is difficult to apprehend, since that first-found ornament can apply as the middle or the end-decoration….  

The counterpart of this field (C4) has the same dimensions but the bands on the vases are more richly decorated. A chain hangs from the vase to the right next to a figure seated in the djèng-kéng posture and with the right hand held open. The supporting left hand holds a stem on the hip, which supports a lotus bud that rises to the height of the head.  

The left figure holds a shortened stem with an open bud in the left hand. The right hand is kept by the torso and rests the bowed index finger on the top of the thumb. Both figures display neck folds; body, and torso ornaments; and short garments. They are missing the (sacred) cord, halo and radiance and seem to thus find themselves ending in this state.

Behind the vase in the middle rises an approximately equal decoration that consists of branches, leaves and flowers. The whole is crowned by a sun-shade, which is no longer present in its counterpart. This is indicated by an arrangement of stones, which also belong so well to an intentional indication of a singular body to persons with a trained eye and after careful research. 

The two gandharvas with head ornaments, ear jewels and neck folds do not agree with the collars previously encountered, otherwise only differing in terms of the position of their heads. 

Above this field is a decorated band of birds with flapping wings that are standing on the curves of a suspended curtain that is decorated with a pearl string. The 4 birds turn themselves 2 by 2 in the direction of the great sanctuary; it cannot be determined as to which band is longer.

Upon further entering the porch, we find the two great fields C5 and C6, which are grasped in a flat frame that measures 2.06 m by 1.10 m (Plate XIX, bottom). The main figure in C5 is a seated young woman who holds a lad to her bosom, while supporting his back with her left arm. The pedestal on which the woman is seated in the timpoeh demeanor is 55 cm long and 24 cm high and the cushion only carries decoration on the ends. Her beautiful head ornament has a flying ribbon at the top. Her other jewels are a diadem, flowers in the long ear-lobes, a neck collar, bracelets and double wrist-bands. The garment covering her lower body reaches to the knees and is only fastened with a cord, leaving the upper body entirely uncovered. Her long hair-locks cascade downward from fullness, under which the lad to the right reaches with his right hand. The figure, which is lacking a halo, has the neck folds. The lad wears a band on the head behind which are lightly decorated sickle-formed tips, possibly a token of authority or social rank, which is also displayed on the Borobudur.  On five of the other lads nearby, these crescent-tipped decorations are more visible; seven other youths miss this strange extension of the head covering or display a peak in it that ends in a bud. Concerning the lad at the bosom of his mother, two discs hang from the back of the youngster’s long ear lobe; he wears a cord around the mid-torso area, has a hip cord with little rings and an ankle cord. 

After studying and comparing the face of this naked youth with those of the remaining ones in this scene, I have arrived at the conviction that its profile displays tones that are in accord with those of the Great Buddha image in the central sanctuary, which gives us reason to call this scene a stay in the garden of desire, Lumbini (where the Buddha was born in his final existence), near (a stand of) mango trees. The female figure should then be the Buddha's aunt, or his mother Maya could be present, excelling here in virtues and unusual still more due to her rare beauty. The sculptor is successful in bending the face a little to the left and giving expression to purity, affection and motherhood. 

In front of the pedestal is a scale with fruit, mangos, possibly picked off the tree, with those to the left filling out the scene. Of the tree to the right no fruit are still in evidence; the lads are still picking. One climbs up with the help of a second, with another lad is already in the tree.  Furthermore, a young lad is held up in another’s hands, which allows him to seize hold of the lowest hanging fruit. 

Nearer the mango tree, the scene gets busier. One lad is already in the tree, the second follows, helped by another one, while an adjacent fourth lad stands nearby. The 5^th and 6^th lie on their knees and argue, possibly over a fruit. Number seven sits astride on the back of number five. Within this group is a somewhat larger character that seizes a fruit with the right hand while the left hand is held off the breast and with the bowed index finger on top of the thumb. Next to Maya’s right arm yet another lad climbs onto the pedestal at first light; he holds a fruit in his hand that is still stuck to a tree branch. Amidst the trees are five birds. 

Scene C6 is of equal size and layout  (Plate XIX, top), but the main figure here is a man who perhaps diverts himself by contemplating the group of Maya and Buddha in the garden opposite. He is seated on a more richly decorated pedestal, upon which lies a cushion. His right foot rests on a small, lower sofa; the left foot rests on the cushion with the flat of his foot facing outwards. The right hand lies on the knee and holds the raised left hand of a lad, helping him to ascend the pedestal so he can join the two lads that are already there. The head ornament has the form of a triangle, supports a beautiful jewel and is with cord-bundles to the head; damaged. 

His curled hair, which does not hang in long locks, is treated naturally; above the ears are three flower buds, the round ear jewels are large with twelve edge stones, whereas from in the middle of the tortoise-shell circle still hangs a globe with pearls. The necklace has double pearl bands; the armband is decorated with massive rosettes of equal form, and the pulse- and ankle-rings are present. The lower garment, which is stopped by a decorated band with fastening-cord, partially covers short trousers with decorated edges at the ends of the leg pipes, something that did not formerly occur on the images previously encountered.  The main figure is without a halo but the oepawita still has a band in the middle of it in the region of the abdomen. 

In front of the pedestal there is one big and three small vases; the biggest is decorated with a band of pearls while the small ones have smooth, flowing bands about their mid-sections. In conformance with its counterpart (on the opposite wall of the porch), the young lads here are also engaged in the gathering fruit. One helps another to climb up in the tree to the left. A third whispers his enjoyment of the game of helping to pull down the man; he holds on with his arm, restraining the younger lad, as if he wants to keep the boy at his own side. 

In the right-hand side of the scene there is a stand of mango trees. One lad shakes the trunk, another covers his face with his right hand as if he is afraid that the fruit will drop down on him. A third is busy using a hook to jerk fruit (out of the tree branches). The fourth lad at the tree already holds a fruit in his left hand yet keeps his right hand raised, as if he hopes to obtain more. In the air above two birds are flying in opposing directions.

Crescent forms are located behind the heads of all six lads. Their upper torsos are naked, not all have jewel-ball decorations, also at some the hair is not covered by a band about the face, whereas the man only has a coiled-cord hanging off the left shoulder. The lad leans his head on the left arm of the man seated on the cushion and looks curiously up at the one who had helped him. The other lad on the pedestal holds his right hand up with the index finger on the top of the thumb. On only some (of these figures) are the neck folds clearly distinguishable.

Above both of these domestic scenes are fields C7 and C8 (Plate XVIII, top and bottom left); each contains four figures that are floating on clouds. We will consider the left field first. Their motion is directed toward the central cella or chamber, thus it is possible that they are going to relate what has transpired in the pleasure garden. All have a bandoleer but are missing halos. The first drags a long cord in both hands; the second has a raised right hand and in the left hand there is a decorated stem with a fly whisk. On the shoulder (of the 3^rd) there is a lotus flower on a bowed stem. The fourth and last figure holds a standard in his right hand and has a flower blossom in the raised left hand.

Their head ornaments all differ and are all richly decorated. The first is missing ear jewels. The neck collars of the second and third are very beautiful and the bracelets for all have been decorated with rosettes. Their wrist rings are simple and their loin garments are tied up with pearl bands, excepting only the last, and they all wear ankle ornaments. Their left legs are folded and their right legs are raised, thanks to which the idea of floating is correctly expressed. 

The counterpart (on the right side of the portal) is fuller and even more beautiful. The first figure has folded hands and carries two lotus flowers, one at the level of the head ornament. The second holds the stem of a lotus flower in his raised right hand, whereas a fly whisk rests on his left shoulder, the stem of which is held in the left hand on the hip. The third carries once again a flag with fluttering ribbons, the raised left hand is eroded, and he carries a standard on the left shoulder, while his raised right hand is open. Their attributes differ from the first scene with respect to the coiled cord and lotus flower; those of the remainder are equal in both scenes, also they already differ in scope. The standard is first of all only rectangular bent thereby at a great length, where on the 2^nd it is wholly bent. Borobudur presents similar displays. 

The images are missing halos, but have high, beautifully decorated head ornaments, except for the first, which is much lower, and does not otherwise display anything precious. In addition, the head ornament terminates in a bud from which ribbons flutter, which acts to clarify the display of speed. All have bandoleers and the jewels found on their counterparts, but are missing ankle rings, excluding the first figure. In both scenes the clouds do not close behind the last figure. 

Do we not have eight divinities here, descending to pay homage and honor to the Buddha, as a child, and also to present an invitation to enter the sanctuary?

Above these scenes to the left and right are three decorated horizontal bands (C9), of which the larger of the two of unequal dimensions starts at the roof of the porch. The bottom band has a partially reciprocal frame edging, having twisted looping strings with their turns terminating in flowers that hang at the ties. For the internally exploited ornament, this is more powerful than the one habitually used for the perimeter of the outside walls.

The first supplementary band contains a sinuous line of alternating rising and falling flowers, 88 cm long and 32 cm high. On the 2nd band, which is 1.16 m in length, three flower fields have been introduced, with the largest one in the middle, so that the entire band measures 3.25 m. In each of these fields, the middle flower is the largest and it keeps more to the left-hand side than it does to the right. On the 1.2 m broad door-sill we find stones with dovetails in reciprocal agreement. 

§2g. The Great Images within the central cella

The floor lies 50 cm below the porch and resembles the form of a trapezoid (Plate I). The portal, where much has suffered damage, lies slightly off of the entrance, so that the central cella is no longer wholly wrapped in darkness. Much of what has occurred is due to the collapse of the vaulted roof. The porch in its original intact condition was completely covered, with only indirect light able to enter, which possibly was a design requirement. 

The three remaining walls (of the cella) remain in good standing condition. The vaulted roof is formed by 33 layers of leveled stones, initially 7 cm higher on the first outward projection. The arch-stone at the top of the superstructure’s stone mass is not visible.  The core area entirely contains the three great images, well-known everywhere, only offering enough room for a small number of priests and worshippers for the conducting of their religious duties. The possible presence of ten cavities has not yet been sufficient examined; it is probable that there is nothing within them, neither initially or at present. It is also immediately apparent that there is no other suitable place within the interior, as the middle area is itself occupied by the base for the great Buddha image, in front of the place where the acting priest or the devoted visitor himself should stand to pay homage….

According to the account of what occurred during the earthquake of 1849, the great image shifted forward from its earlier location. ¹⁴ The pedestal to which the great image had originally been joined is 4.0 m broad and also taller than those for the two remaining images. The projection for the feet is no longer present. The back wall against which the throne stands is 6.80 m in length. The height of the pedestal, which is approximately 2.0 m, is therefore equal to one half of its length; the bottom band measures 1.64 m to the right and 1.72 m to the left….

The sculptor carved the Buddha image (D1, Plate XX) with extraordinary brio and artistic dexterity from a single stone block that was at least 3.0 m in height. He, according to C. den Hamer, must have had hand control so good that it proved equal to the task of fulfilling his heart: "The appeal and the charm of his contemplations recall for us the spirit of the high-minded civilization that flowered here more than one thousand years ago. This monument for awakening religious faith, its clean-handed beauty and majesty of style arouses a lofty admiration; this temple of the pious is a precious inheritance. Revealing himself in the highest simplicity, the Buddha whose word is the highest law ties everything together, appearing to win over wretched sufferers, spreading joy, good luck and prosperity."

Wrapped to his feet in a garment and mantle without sleeves, with the right shoulder and arm left remaining uncovered, the Buddha sits in contemplation and deep reflection, with the top of the ring finger of his right hand held on the same finger of the left. The left hand has its palm turned upward, whereas the middle finger of the hand rests against the top of the thumb. The palm of the right hand faces downward keeping the pinkie finger in the middle and the index finger somewhat above nearby. 

The head supports short curls that twist from the left to the right and in the downward direction more than forward. In the middle of the top of the head rises a protuberance that is 90 cm in circumference at its base. The rolling-up curls on the top, which are considerably larger than the others, range in 4 concentric rings around the protuberance and which contain 6, 12, 16 and 16 (i.e., 54) curls, respectively. In the middle of the image’s forehead, between the eyes and above the nose, the hemisphere of the Buddha’s urna is recognized. The physical characteristic of the Buddha’s urna is always introduced in the same place; only sometimes it lacks these small raised stages. 

The Buddha’s eyelids are half-closed. The distance from his hairline to his chin measures 42 cm. The ear lobes are stretched and without much facing. The distance from shoulder to shoulder amounts to 1.30 m and the neck folds are three in number. Within the bowed left arm is a thin lower-body garment with the thigh as its support; the right arm, which is held at the height of the rib cage also has a body connection as its support. A finger on the left hand is broken; there is a crack to show where the finger will bend. The thumb of the right hand is fixed to the body by a connection; the pinkie of the left hand is in contact with the ball at the base of the thumb of the right hand, providing sufficient support resources underneath this treatment. 

The over- and under-garments are not decorated. The feet with the soles facing down rest on a lotus cushion, upon which is still visible the six-sided polygon of the seed vessel that is used as a covering.  Below the folds of the dress one notices a decoration that actually belongs to the seat. It consists of 2 concentric bands with rosettes and gem stones; it does not occur on the seats of the other two images. The band’s decoration incorporates two raised circles that have been placed in a reciprocal manner. The residual areas have additional rosettes of glass pane form that are half-under and half-above. 

To the right of the Buddha is a smaller clean male image (D2, Plate XXI, top and bottom left) 2.4 m in height that is seated on a lotus cushion. The right foot rests on a small oval lotus cushion and the left has been folded within, resting on the great cushion so that the flat bottom of the foot rests against the inside of the right thigh, and with the two wholly touching one another, while the posture of the Buddha image is with both legs extending downward. Its beautiful, majestic head ornament finishes in a bowl-shaped quadrifoliate bud. It is bound by a cord, the bottom of which is surrounded by an extensive decorative band, and a decorated upper niche that contains a 14 cm figurine of Amitabha that is seated on a lotus cushion and in the typical attitude with both hands in the lap. 

About the face is a band with 3 jewels that is edged with gemstones. The hair is brushed to the back, with three curled locks that descend onto the shoulders to the left and right.  Heavy, richly-decorated buds hang from the earlobes. From the hairline to the chin the face measures 30 cm, of which 10 cm is for the nose. The eye lids are also half-closed. The neck has the three folds and a jewel necklace lies up the breast by 10 cm that displays a beautiful ornament. 

A broad bandoleer is fastened on the left shoulder, with a flap on the breast and a longer one that hangs down on the back. The right arm rests with the back of the opened hand on the thigh. The thumb and fingers are broken. The little finger of the raised left hand touches the top of the bent index­ finger to the thumb. A huge support (10 cm) is still present, which is also the case 1.5 cm under the right arm, where the need for it is less since that hand rests on the thigh. The arm bracelets carry a beautiful triangular closed area that is richly decorated with gemstones; on the wrists are pearl bands. 

On the thin loin garment are 2 stopped bands in the middle of which is provided a beautiful fastener; a portion of it covers the great lotus cushion and even hangs down the extended right foot to finish just above a beautifully treated ankle ring and with the downward-dipping blades of the serpentine bands draped onto the great lotus cushion. The image’s 1.30 m-high halo is rough, extends to a point and has been placed out from the right partition wall by 57 cm. 

On the seat we further see a flat field behind that is closed to the sides by untreated pilasters and carrying a bar or beam. The west side finishes in an ornamental assembly, which is also present at the staircase and on the wall ­areas: the so-called makara-ornament with the jowl here resting on the head of a lion (70 cm) that is standing on top of an elephant (28 cm). From the lion’s curling mane hangs a jewel necklace. 

The decoration of the throne’s pedestal is treated with little care and is contained above the crossed tooth bands and a flower ornament in the smallest of the sub-divisions. The images seated on the great and small cushions, under which a plate still rests, have each been carved entirely out of one stone. The seats themselves are also comprised of distinct and individual layers of stone, likewise the halos, which are not linked to the images. 

Against the other partition wall as the counterpart to the left of Buddha is situated the third image (D3, Plate XXI, bottom right), also seated on a lotus cushion, but here with the extended left foot on a smaller oval support, wherefrom only the rising blade shares the finished stone from which the entire image has been carved; the rest of the blade has been chiseled into the 3^rd portion of the pedestal. This image’s decorative halo also has a loop that terminates in a point; it is somewhat damaged and reaches a lesser height. 

On the top of the lofty head ornament, coming up from four decorated bands, is a lotus flower. The bands are attached by means of four decorated plates of triangular form, tied up in some twisted bands upon which the hair falls west of the foot.  Above the face is a diadem decorated with triangular forms. The ears are 28 cm long. On the right- and left-shoulders lie three long ringlets of hair, with the remainder covering the back.  

The ear jewels seem to be gripped at the start of the lobes. The necklace, busy with pearls inside and out, is beautiful of line.  The three neck folds are present. Where the oepawita leaves the left shoulder, the flat band is replaced by 3 strings near one another, clasped with a bud by the side of the breast’s nipple, decreasing further down the breast and along the back, where it changes into a simple band that sharpens at the point of termination. The beautifully decorated bracelets measure ±3 dm. To the front off the heart cavity of the body is a decorated band; the short loin garment is stopped by 2 decorated blinds with a large clasp to the front. The wrist band on the right hand has only a single line of pearls whereas on the left hand there are 3, where a ring is also found on the pinkie finger. The head is slightly turned to the left, and also does not lower the eye lids as much as the Buddha image and its counterpart. 

Because it leans on the left hand, the image’s left ­shoulder is slightly increased, but then why also is the left nipple larger than the right? The right hand is raised higher than the decorated band; the index finger, which indicates a bent form, is broken; the middle finger, ring finger and pinkie are turned upwards. At the wrist there is a connection with the body. 

From the top of the second image’s head decoration to the small lotus cushion measures 2.60 m. The throne does not differ from the one on the other side. The three large images have all obtained a smooth surface through polishing.  

In the central cella we find in the front wall, as well as in the two side walls, two niches each (D4 through D9, see Plate XXII, bottom left). On a pedestal built into the wall that is 62 cm in height are loose lotus cushions. Concerning the pilasters and the animal ornaments at the foot of the niches we have already had occasion to make their acquaintance. Above the slim body with decorated back they bend behind Banaspati.  

From the top of the foot of the lotus cushion, which only has been changed to the front (in order to make it more fit for a particular purpose), the height amounts to 1.18 m. The cushion, right, preceding conversely, possibly after adjusted research or below it also which is still hidden, and no longer placed in the exact original state. The niches with a little barrel-shaped roof have a depth of 52 cm. They do not contain any images. 

§2h.  The Superstructure

Insofar as C. den Hamer had been able to determine, the cornice crossings had closely carried stupas that rested on lotus cushions, possibly three on each of the four angles, and still two more above the middle of each face, for a total of 12 + 8 = 20 stupas at the level of the 1^st stage.

On the square and the wall a mass of departed stones is found that are decorated with smooth and pearl bands, which corresponds entirely with having a mutual relationship with a stupa that I found above the cornice, and which could still be brought to stand in its correct position. The conical top of the stupas would have carried pieces, which as small stumps are wholly out of place for the sub-basement as it has been introduced. From the vestiges it is therefore possible to reciprocally complete the ring formations on the 1^st and 2^nd stages for an enclosed bell-shaped dome for the entire superstructure.

Thin pieces of decorative pilaster lie above the 1^st stage that indicate the behavior of the 2^nd stage as well as the 3^rd stage at the top of the roof, which in turn would have been capped by a great stupa, for which a disk lies on the 2^nd ambulatory that can still be seen, the preparations for which are still displayed above.   The evacuation of rain water could not be examined here.

The small obelisk, which sticks out from the superstructure, has been executed in a vertical position by the maker and for this reason protrudes up from the square and therefore appears to be a clasped portion of the whole....   

The superstructure finds itself in a miserable condition. Much of it lies in a frightful jumble downstairs, where it fell on the cornice and on the ornaments decorating the wall planes and balustrade, thereby causing damage.  The remainder of the makara-ornaments at the foot of the vertical frames terminate at the middle of the top with the face of Banaspati as the overhead crown.

The planes of the great walls are decorated with pilasters featuring 8 or 9 spiral ornaments, whereas on the superstructure they only have 2 with bands; the decorated pilaster also lacks the makara supports and carries only a flower ornament there... as a recurrence of the decorations on the great wall planes, but without the addition of any images or animal forms. 

As a dash of spiral ornament, on the great planes is a lion, which here only the hind leg is with claws.  With its many stupas and cone-shaped forms the superstructure once made for a beautiful effect. 

During the disassembly and removal, the superstructure can firstly be examined closely and a correct judgement be formed over the circumstances and dimensions of the levels, frames and so forth, for which I was unable to arrive at firm propositions, so that sense can be given to the preceding general indications, concerning what I saw and was able to guess about the state of that ruin.

FOOTNOTES:

(1) Netherlands-India illustrated magazine, volume I, part II, pp. 70 and 398.

(2) With regards to the 1^st field, I have manufactured a plaster mould casting and offered it to the Batavia Academy of Arts and Sciences.

(3) Which also occurs in the dimensions of Candi Kali-Bening (Soejewan?).

(4) The djèngkéng-attitude is a kneeling attitude, for which only one knee touches the ground. 

(5) This brings to mind what Dr. J. Brandes wrote about the Tantri fable about the Brahman, the crab, the crow and the snake in an honorary collection dedicated to Dr. P. J. Veth. 

(6) As noted by Dr. J. Brandes in the minutes of the Bat. Gen. 1900. Bijl. X.

(7) It must also be noticed that on the layer at the foot of the tree three toegebonden bags lie, possibly containing gifts or other valuables. A mistake, with the wrong relief!!!

(8) Which, by means of the jewels he bathes (badenden) prince to steal and this upon examination causes the prince’s slide into the hell hollow of a serpent, which is his opat fellow, to leave falls, knew revenge itself. 

(9) One could think under others to that of the rest without heart and without ears, which soul to twice by jackal has himself discussed in the immediacy of the open, what is cause of death, and whereupon, if the lion even remote has himself, that jackal ears and bals opeet. The head here still clearly shows the ears behind. To the first version of the Pancatantra one might not think, because in this next scene is portrayed  bull and a jackal, in which one also sees the friendship and the enmity between the bull and the lion, to that tale we are given to contemplate. Amongst the flower work are 4 parrots.

(10) From the Pancatantra, II, l. 

(11) The anten on the register terminates in lead.

(12) Concerning the agreement that can be discerned between the attributes of this image and those of Brahma, Wilsen previously indicated this long ago.  

(13) One finds these attributes back in displays of Shiva's shakti, Durga; Wilsen has already made note of this. 

(14) Its changed, slanted attitude was illustrated by F. C. Wilsen in the magazine T. L. en V. Kunde, volume XX, 1873.

From Candi Mendut To Borobudur 

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