Of all the Hindu temples of Java the largest and most magnificent is Boro-Budur, which ranks among the architectural marvels of the world. It lies in the residency of Kedu, a little to the west of the Progo, a considerable stream flowing south to the Indian Ocean. The place is best reached by taking the steam-tram from Magelang or Jokjakarta to the village of Muntilam Passar, where a conveyance may be hired. Strictly speaking, Boro-Budur is not a temple but a hill, rising about 150 ft. above the plain, encased with imposing terraces constructed of hewn lava-blocks and crowded with sculptures. The lowest terrace now above ground forms a square, each side 497 ft. long. About 50 ft. higher there is another terrace of similar shape. Then follow four other terraces of more irregular contour. The structure is crowned by a dome or cupola 52 ft. in diameter surrounded by sixteen smaller bell-shaped cupolas. Regarded as a whole, the main design, to quote Mr Sewell, may be described as "an archaic Indian temple, considerably flattened and consisting of a series of terraces, surmounted by a quasi-stupa capped by a dagoba." It was discovered by the engineer J. W. Ijzerman in 1885 that the basement of the structure had been earthed up before the building was finished, and that the lowest retaining wall was completely concealed by the embankment. The architects had evidently found that their temple was threatened with a destructive subsidence; and, while the sculptors were still busy with the decoration of the lower façades, they had to abandon their work. But the unfinished bas-reliefs were carefully protected by clay and blocks of stone and left in position; and since 1896 they are gradually but systematically being exhumed and photographed by the Dutch archaeologists, who, however, have to proceed with caution, filling up one portion of the embankment before they go on to deal with another. The subjects treated in this lowest enceinte are of the most varied description, forming a picture-gallery of landscapes, scenes of outdoor and domestic life, mingled with mythological and religious designs. Among the genre class appear men shooting birds with blow-pipe or bow and arrow, fishermen with rod or net, a man playing a bagpipe, and so on. It would seem as if the architect had intended gradually to wean the devotees from the things of this world. When once they began to ascend from stage to stage of the temple-hill they were introduced to the realities of religion; and by the time they reached the dagoba they had passed through a process of instruction and were ready, with enlightened eyes, to enter and behold the image of Buddha, symbolically left imperfect, as beyond the power of human art to realize or portray. From basement to summit the whole hill is a great picture bible of the Mahayana creed.