and stands on the back of a kneeling bull. Her lower right hand holds the tail of the bull, while the corresponding left hand grasps the hair of a captive, Dewth Mahikusor, the personification of vice, who has attempted to slay her bull. He has a cord round his waist, and crouches at her feet in an attitude of supplication. The other hands of the goddess hold, on her right side, a double hook or small anchor, a broad straight sword, and a noose of thick cord; on her left, a girdle or armlet of large beads or shells, an unstrung bow, and a standard or war flag. This deity was a special favourite among the old Javanese, and her image is often found in the ruined temples which abound in the eastern part of the island.
The specimen I had obtained was a small one, about two feet high, weighing perhaps a hundredweight; and the next day we had it conveyed to Modjo-Kerto to await my return to Sourabaya. Having decided to stay some time at Wonosalem, on the lower slopes of the Arjuna Mountain, where I was informed I should find forest and plenty of game, I had first to obtain a recommendation from the Assistant Resident to the Regent, and then an order from the Regent to the Waidono; and when after a week's delay I arrived with my baggage and men at Modjo-agong, I found them all in the midst of a five days' feast, to celebrate the circumcision of the Waidono's younger brother and cousin, and had a small room in an on outhouse given me to stay in. The courtyard and the great open reception-shed were full of natives coming and going and making preparations for a feast which was to take place at midnight, to which I was invited, but preferred going to bed. A native band, or Gamelang, was playing almost all the evening, and I had a good opportunity of seeing the instruments and musicians. The former are chiefly gongs of various sizes, arranged in sets of from eight to twelve, on low wooden frames. Each set is played by one performer with one or two drumsticks. There are also some very large gongs, played singly or in pairs, and taking the place of our drums and kettledrums. Other instruments are formed by broad metallic bars, supported on strings stretched across frames; and others again of strips of bamboo similarly placed and producing the highest notes. Besides these there were a flute and a curious two-stringed violin, requiring in all twenty-four performers. There was a conductor, who led off and regulated the time, and each performer took his part, coming in occasionally with a few bars so as to form a harmonious combination. The pieces played were long and complicated, and some of the players were mere boys, who took their parts with great precision. The general effect was very pleasing, but, owing to the similarity of most of the instruments, more like a gigantic musical box than one of our bands; and in order to enjoy it thoroughly it is necessary to watch the large number of performers who are engaged in it. The next morning, while I was waiting for the men and horses who were to take me and my baggage to my destination, the two lads, who were about fourteen years old, were brought out, clothed in a sarong from the waist downwards, and having the whole body covered with yellow powder, and profusely decked with white blossom in wreaths, necklaces, and armlets, looking at first sight very like savage brides. They were conducted by two priests to a bench placed in front of the house in the open air, and the ceremony of circumcision was then performed before the assembled crowd.
The road to Wonosalem led through a magnificent forest in the depths of which we passed a fine ruin of what appeared to have been a royal tomb or mausoleum. It is formed entirely of stone, and elaborately carved. Near the base is a course of boldly projecting blocks, sculptured in high relief, with a series of scenes which are probably incidents in the life of the defunct. These are all beautifully executed, some of the figures of animals in particular, being easily recognisable and very accurate. The general design, as far as the ruined state of the upper part will permit of its being seen, is very good, effect being given by an immense number and variety of projecting or retreating courses of squared stones in place of mouldings. The size of this structure is about thirty feet square by twenty high, and as the traveller comes suddenly upon it on a small elevation by the roadside, overshadowed by gigantic trees, overrun with plants and creepers, and closely backed by the gloomy forest, he is struck by the solemnity and picturesque beauty of the scene, and is led to ponder on the strange law of progress, which looks so like retrogression, and which in so many distant parts of the world has exterminated or driven out a highly artistic and constructive race, to make room for one which, as far as we can judge, is very far its inferior.
Few Englishmen are aware of the number and beauty of the architectural remains in Java. They have never been popularly illustrated or described, and it will therefore take most persons by surprise to learn that they far surpass those of Central America, perhaps even those of India. To give some idea of these ruins, and perchance to excite wealthy amateurs to explore them thoroughly and obtain by photography an accurate record of their beautiful sculptures before it is too late, I will enumerate the most important, as briefly described in Sir Stamford Raffles' "History of Java."
BRAMBANAM.—Near the centre of Java, between the native capitals of Djoko-kerta and Surakerta, is the village of Brambanam, near which are abundance of ruins, the most important being the temples of Loro-Jongran and Chandi Sewa. At Loro-Jongran there were twenty separate buildings, six large and fourteen small temples. They are now a mass of ruins, but the largest temples are supposed to have been ninety feet high. They were all constructed of solid stone, everywhere decorated with carvings and bas-reliefs, and adorned with numbers of statues, many of which still remain entire. At Chandi Sewa, or the "Thousand Temples," are many fine colossal figures. Captain Baker, who surveyed these ruins, said he had never in his life seen "such stupendous and finished specimens of human labour, and of the science and taste of ages long since forgot, crowded together in so small a compass as in this spot." They cover a space of nearly six hundred feet square, and consist of an outer row of eighty-four small temples, a second row of seventy-six, a third of sixty-four, a fourth of forty-four, and the fifth forming an inner parallelogram of twenty-eight, in all two hundred and ninety-six small temples; disposed in five regular parallelograms. In the centre is a large cruciform temple surrounded by lofty flights of steps richly ornamented with sculpture, and containing many apartments. The tropical vegetation has ruined most of the smaller temples, but some remain tolerably perfect, from which the effect of the whole may be imagined.
About half a mile off is another temple, called Chandi Kali Bening, seventy-two feet square and sixty feet high, in very fine preservation, and covered with sculptures of Hindu mythology surpassing any that exist in India, other ruins of palaces, halls, and temples, with abundance of sculptured deities, are found in the same neighbourhood.
BOROBODO.—About eighty miles westward, in the province of Kedu, is the great temple of Borobodo. It is built upon a small hill, and consists of a central dome and seven ranges of terraced walls covering the slope of the hill and forming open galleries each below the other, and communicating by steps and gateways. The central dome is fifty feet in diameter; around it is a triple circle of seventy-two towers, and the whole building is six hundred and twenty feet square, and about one hundred feet high. In the terrace walls are niches containing cross-legged figures larger than life to the number of about four hundred, and both sides of all the terrace walls are covered with bas-reliefs crowded with figures, and carved in hard stone and which must therefore occupy an extent of nearly three miles in length! The amount of human labour and skill expended on the Great Pyramid of Egypt sinks into insignificance when compared with that required to complete this sculptured hill-temple in the interior of Java.
GUNONG PRAU.—About forty miles southwest of Samarang, on a mountain called Gunong Prau, an extensive plateau is covered with ruins. To reach these temples, four flights of stone steps were made up the mountain from opposite directions, each flight consisting of more than a thousand steps. Traces of nearly four hundred temples have been found here, and many (perhaps all) were decorated with rich and delicate sculptures. The whole country between this and Brambanam, a distance of sixty miles, abounds with ruins, so that fine sculptured images may be seen lying in the ditches, or built into the walls of enclosures.
In the eastern part of Java, at Kediri and in Malang, there are equally abundant traces of antiquity, but the buildings themselves have been mostly destroyed. Sculptured figures, however, abound; and the ruins of forts, palaces, baths, aqueducts, and temples, can be everywhere traced. It is altogether contrary to the plan of this book to describe what I have not myself seen; but, having been led to mention them, I felt bound to do something to call attention to these marvellous works of art. One is overwhelmed by the contemplation of these innumerable sculptures, worked with delicacy and artistic feeling