On the exterior of the wall, which on one side sustains the high roof, are a series of bas-reliefs, surrounding the whole gallery. They are sculptured in the thickness of the wall, and are curious from the scenes and costumes they represent. These scenes are drawn more from the sacred books of the people than from their history; for men with ten heads and twenty arms, fantastic animals, griffins and dragons, are favourite subjects. The men all wear the langouti, and often nothing beside, and have the ears pierced and hanging on their shoulders: many have long beards.
In the vestibules of the towers, and in the high galleries near them, are kings and queens seated on a rich dais, with a numerous court, and surrounded by persons carrying parasols, fans, standards, and caskets: there are likewise many musicians with drums, flutes, and harps.
In the galleries are represented several boats’ crews fighting; while underneath are fishes disputing for the bodies of the slain. There are also in the same galleries persons in attitudes of adoration, with clasped hands, before a figure of Samonakodom.
In another part is a long procession: the king is in a large open carriage, divided into three compartments, he being in the centre one, and his wives in the two others. This carriage has six wheels and two shafts, which rest on the shoulders of eight men. The chiefs are mounted on elephants or horses, or seated in carriages drawn by four led horses, and by their side march a numerous company bearing standards, parasols, and caskets.
The bas-reliefs at the east and north sides represent similar scenes, as well as many of the fabulous men and animals which are to be seen in those at Ongcor-Wat. In numerous places the water, trickling through holes in the roof, has so obliterated the carving that the subjects can no longer be recognised. This gallery, with its sixteen towers, is connected with another only 3 metres distant; and this last has five towers on each side, of which the three in the middle face the exterior towers. The interior of the gallery with its three roofs receives no light but by the doors, and is so dark that torches are necessary when it is visited. The gallery, sustained by two rows of columns and by an exterior wall, has no bas-reliefs. The towers, which are built at equal distances, are thus disposed: the largest at the angles, two smaller ones next to them, and one of medium size in the centre.
The middle of the terrace is occupied by a large tower connected with the gallery by two others, only about a metre distant. The central tower is circular at the base, is 20 metres in diameter, and nearly 40 metres high, and has on each side a turret. A colonnade supporting a roof, now in ruins, surrounds it: the columns, each of which is hewn out of a single block of stone more than 40 metres high, are still standing. Four doors lead to the interior. Outside this tower, between each two doors, are three chapels, constructed out of the thickness of the wall, and having no communication with each other, nor with the exterior. In nearly every one of them is a full-length statue of Samanokodom seated on a pedestal.
On visiting this place you behold on every side the tops of these numerous towers, and the roofs of the galleries, intermingled with large trees, creepers, and thistles, which invade the courts, the terraces, and other parts; and you have at first some difficulty in comprehending the arrangements of the different buildings. It is only after a long examination that you perceive the symmetry of them as a whole, and that these thirty-seven towers and numerous galleries are all in regular order. Some parts are in good preservation; others have been dealt hardly with by time, in spite of the immense size of the blocks of stone, and the skill with which they are united; and the condition of this stone, ready to crumble to powder, seems to prove that this structure was anterior to Ongcor-Wat.
Like it, it is built of sandstone, and the roofs are very similar, only that, in place of the pointed stones ranged in courses at Ongcor, these are embellished, at about two-thirds of their height, with four gigantic sculptured heads.
The roof is terminated by a very elegant embrasure, a feature not belonging to the other temple. Every door in the building is sunk, and many of them are admirably carved, displaying scenes full of expression, skilfully arranged, and exquisitely delicate in detail. They represent various subjects: worshippers prostrated before their idols, musicians and comedians performing pantomimes, chariots filled with warriors standing up, and drawn by horses galloping: in some instances they appear to be running races.
Not far from this labyrinth are three platforms close together, each occupied by a colossal idol of stone, and gilt. These idols appear to be of modern date; but at their feet are assembled a number of others, some uninjured, some broken, collected from among the ruins. On one of the platforms are several stones fixed in the ground; on one of which is a long undecipherable inscription.