We arrived at the Hotel Mataram in time for luncheon in the pleasant open dining-room, leading to a garden filled with trees, from whose branches were suspended orchids of various hues. February 24th was the date fixed for a trip of twelve miles by carriage to the Buddhist temple, Boro Boedor, but the late rains of the monsoon season had carried away a bridge that must be crossed; hence a grave doubt arose as to whether we would be able to go. Our enthusiasm, however, led us to take the risk, with the result that on reaching the scene of the wreck we found an improvised footbridge and another train awaiting us on the opposite side. Our railway journey terminated, we took a carriage for a drive of several miles, stopping on our way at the old temple of Mendoet, small but very perfect in its construction, with fine bas-reliefs and large architectural ornaments; also some immense savage gargoyles, which were especially noticeable.
We ascended the stairs to the inner room, where was a large-sized figure of Buddha, with the attendant figures at each side called his sons, Buddhavista, meaning "future Buddhas." Driving on, we came to another missing bridge. Here we were taken across on a rude raft, the carriage following, and then the horses. As we drew near Boro Boedor, a feeling of awe came over us, for we were to behold a temple which for centuries had been buried from the sight of man. Indeed, until the debris of time was removed, after English occupation in 1811, not a hint of its existence even had been known. This work was undertaken by Sir Stamford Raffles before the cession of Java to the Dutch in 1816, and carried on, aided by eminent archæologists. Much has been done by the Government and by an Archæologist Society since 1885, and at the time we were there it was said that about one thousand workmen were employed on the temple.
The approach being over a hill, the view of the temple is suddenly disclosed, but from the rest house we had a side glimpse. This is confusing at first, and the structure seems too broad for the height, thus lacking in impressiveness; but as one approaches and the huge mass takes on color and expression, with the many-sided pyramids of dark gray stone, the mass of cupolas, spires, and walls surrounded by a high central dome, the impression taken altogether becomes almost overpowering. It is a structure difficult to describe, but a few outlines with the aid of the illustrations may give you some idea at least of its size and impressiveness.
First, it is not a building in the ordinary sense and has no entrance. It is the top of a hill, artificially lowered and encircled with galleries built by human hands. The lowest terrace, which is shown in the picture, forms the upper portion of a terrace wall, which is still submerged below the soil. This terrace has thirty-six sides, measuring three hundred and seventy-four feet in diameter. Below is a larger terrace, square in shape, estimated at five hundred feet; it is underground, while above it is another of the same shape as the middle terrace, from which it is reached by stairways on each of the four sides. Some years ago it was discovered that three terraces were of a later date than the original internal structure, which is more slender in shape, and that they were constructed in order to support the latter when it began to show signs of settling. The base of the lower terrace has been exposed in places in order to obtain photographs of the beautiful bas-reliefs, but it was subsequently covered, inasmuch as it would have been a grave mistake to run the risk of leaving it permanently exposed.
The building above the three terraces consists of four parapeted galleries, erected upon the internal walls of the lower gallery, and of four upper terraces, the three highest of which are circular. The topmost terrace is crowned by a large cupola, or dagoba. The Boro Boedor, from its base to the top of the cupola, has a height of ninety-seven feet, while the elevation of the hill to the lower step is about fifty-five feet, making a total of one hundred and fifty-two feet. Each of the lower galleries is about seven feet wide, the walls on either side being lined with sculptures which, if they could be extended in a line, would cover three miles. We walked around the galleries and ascended the steps.
In the lower gallery there is, beneath every Buddha, a representation of a man, on either side of which are groups of three figures, each bearing lotus flowers and fans.
The inner circle of the second gallery contains, in the upper row, bas-reliefs representing scenes connected with the history of Prince Siddhartha (Gautama) from his infancy to the period when he attained Nirvana.
The third gallery wall contains one hundred and eighty bas-reliefs, depicting the apotheosis of Buddha. The fourth, in eighty different scenes, pictures the rewards given to kings who have been Buddha worshippers, while the fifth contains a large number of images of Buddha and of two kings, probably the founders of the temple. Other bas-reliefs that are interspersed represent fanciful subjects and scenes from life or are illustrations of legends; one of the latter deals with the turtle, which is regarded as sacred by all true Buddhists.