ly temples, attained to her utmost power and
fame. The Greek influences which prevailed in Northern Hindustan were
translated to Brambanam in their attributes of dignity and grace, for
the flowing robes and easy postures of the sculptured figures correct
and modify the grotesque and over-laden character of original Hindu
art. The great stone-paved court once contained an imposing group of
twenty pyramidal shrines, but only three remain in the original contour
of the so-called "pagoda style," peculiar to the Dravidian temples of
Southern India, from whence Java derived her special form of faith. The
ruins on the opposite side of the grey quadrangle are mere cone-shaped
piles of rubbish, dust, and broken stone, but the tapering pyramids,
with their graceful galleries and processional terraces, richly carved
and adorned with images, enable us to reconstruct in imagination the
stately beauty of the architectural panorama once displayed by the
temple courts. Scenes from the Ramayan and Mahabharata adorn the great
blocks of the boundary wall, sculptured in high relief. The Vedic
Powers of Nature, with Indra as the god of storm and hurricane,
manifest the recognition of that earlier belief which became submerged
in the vast system of Pantheistic mythology. The faith of further India
takes form and colour from the idiosyncracy of Java, and the goddess
Parvati, or Kali, worshipped under these different names according to
her attributes of glory or terror, becomes Lora Jonggran, the benignant
goddess of Java, popularly known as "the maiden of the beauteous form."
Four lofty stairways ascend to the hoary chapels within each sculptured
pyramid, every dusky vault containing the broken image of the tutelary
_Deva_.

Only separated from Brambanam by a winding path and a green belt of
jungle, stands the great Buddhist temple of Chandi Sewon, and the
colossal figures flanking the entrance gate indicate a decadent phase
of the ancient creed which Boro-Boedoer illustrates in the purity of
earlier developement. Chandi Sewon, the "thousand temples," includes in
the number myriad unimportant shrines, ruined, overthrown, or covered
with a green network of interlacing creepers. The great architectural
pile, built at a uniform level, surrounds the central sanctuary with
five great enclosures. All the ancient faiths of the world contain
foreshadowings or reflections of Christian truth, and the cruciform
temple which forms the climax of this monu