pyramid, each facade measuring nearly 400 feet at the
base, and the approach is by four sets of stairs in the
angles, of 150 steps each, one above the other. The
entire pyramid consists of nine terraces,—a favourite
number amongst Buddhists as the multiple of the figure
three, emblematic of the Tripitaka or three collections
of Buddha’s Writ. The five lower tiers, twelve to
eight feet high respectively, have a gallery all
round, with screens and. gateways, giving access to
the cells, each of which,—and there are altogether
nearly 500,—possessed a figure of Buddha in the
centre, life-size and seated cross-legged; all those
images still in existence are characteristic of that
dreamy, contemplative mood, bearing the mark of
Asiatic apathy. Each of the cells was roofed over by
u, dome; few of the latter now, however, remain
uninjured; this part forms the ancient monastery or
vihara, at one time occupied by the monks in their
yellow garbs. The four upper-stories had neither
gallery nor cells, but numerous cupolas, corresponding
with the domes below. The apex, whence there is a
magnificent view of the surrounding country, is
occupied by a large circular compartment containing
the shrine, sunk ten feet deep into the pyramid, which
was originally covered over by the customary bell-
shaped tope. This shrine at one time contained the
sacred relic,’ generally a bone of Buddha ; besides,
there had been an enormous statue of the latter.
Now the space is empty, and the whole of the upper
stories are very much ruined. Strange enough there
is no interior to the temple beyond the cells already
named, and the dagoba in the centre.
The material used in the construction of this
enormous edifice, is granite in large blocks, fitted
together apparently without cement; and the entire
structure, every stone in it, is covered with sculpture.
The dimensions throughout, the height of the different
stories, the width of the galleries, the pitch of every
cupola, nay, the size of all the ornamentations, are in
the most perfect proportion to the whole edifice.
The sculptures represent the creation of man,
marriage and death, also scenes from the life of
Buddha, elephant and rhinoceros hunts, battles and
sea fights, agriculture and various arts ; and although
time and climatical influences have done much to
injure the carvings, there is sufficient evidence to
show what great skill has been exercised in producing
them : they are proof of the high state of civilization
and artistic feeling of that early time.
The Dutch Government, a few years ago, published a
most exhaustive account of the temple of Boro-Bodo, a
copy of which has been presented to the Royal