As regards buildings I must here be very concise. Brandes has already remarked several times that their chief importance consists in the data they afford for Ilindu-Javanese architecture and later Parmentier has called attention to the same thing though so far provisionally. On this account it was considered better to discuss this section of relief-subjects in the architectural part of this monograph, where such data are treated with the architecture of the whole building. I shall merely enumerate the scenes where these buildings chiefly appear. The greater number of them are palaces, temples, reception-halls and such splendid, richly-decorated buildings, with which in many cases the sculptor though he may have been ruled by the general principles of construction and ornament, has often given rein to his fancy and designed monuments of ideal form, such as did not exist in reality. Buildings of this kind are found specially on 024,31, 33, 43, 100, 103, 124, 131, 140, 141, 143, 14.7, 149, 152,155, Ia6, 10, 15, 19
Life of Buddha
Series Ia
Plate III 6
2558b.JPG
Life of Buddha
Life of Buddha
Series Ia
Plate V 10
2560b.JPG
Life of Buddha
Life of Buddha
Series Ia
Plate VIII 15
2563a.JPG
Life of Buddha
Life of Buddha
Series Ia
Plate X 19
2565a.JPG
Life of Buddha
25, 26,35,37, 53, 54, 55, 61, 62, 64, 73, 81, 109, 112 Ib 1, 11,16,25,29,33,37,50,79,81,82,84,87,91,96,100,106,107, 112
main wall
Series Ib
Plate I 1
1157a.JPG
main wall
main wall
Series Ib
Plate VI 11
1162a.JPG
main wall
main wall
Series Ib
Plate VIII 16
1164b.JPG
main wall
main wall
Series Ib
Plate XIII 25
1169a.JPG
main wall
main wall
Series Ib
Plate XV 29
1171a.JPG
main wall
main wall
Series Ib
Plate XVII 33
1173a.JPG
main wall
main wall
Series Ib
Plate XIX 37
1175a.JPG
main wall
main wall
Series Ib
Plate XXV 50
1181b.JPG
main wall
main wall
Series Ib
Plate XL 79
1197a.JPG
main wall
main wall
Series Ib
Plate XLI 81
1198a.JPG
main wall
main wall
Series Ib
Plate XLI 82
1198b.JPG
main wall
main wall
Series Ib
Plate XLII 84
1199b.JPG
main wall
main wall
Series Ib
Plate XLIV 87
1201a.JPG
main wall
main wall
Series Ib
Plate XLVI 91
1203a.JPG
main wall
main wall
Series Ib
Plate XLVIII 96
1205b.JPG
main wall
main wall
Series Ib
Plate L 100
1207b.JPG
main wall
main wall
Series Ib
Plate LIII 106
1210b.JPG
main wall
main wall
Series Ib
Plate LIV 107
1211a.JPG
main wall
main wall
Series Ib
Plate LVI 112
1213b.JPG
main wall
IBa 16,26,346
balustrade
Series IBa
Plate II 16
1589.JPG
balustrade
balustrade
Series IBa
Plate III 26
1600.JPG
balustrade
balustrade
Series IBa
Plate XXXVIX 346
1938.JPG
balustrade
IBb10,15,16,22,28,33,40,42,45,52,61,68,72,84,93,95,9799,104,110,113,114,119,125,127

####No Reference found IBb, 10

####No Reference found IBb, 15

####No Reference found IBb, 16

####No Reference found IBb, 22

####No Reference found IBb, 28

####No Reference found IBb, 33

####No Reference found IBb, 40

####No Reference found IBb, 42

####No Reference found IBb, 45

####No Reference found IBb, 52

####No Reference found IBb, 61

####No Reference found IBb, 68

####No Reference found IBb, 72

####No Reference found IBb, 84

####No Reference found IBb, 93

####No Reference found IBb, 95

####No Reference found IBb, 9799

####No Reference found IBb, 104

####No Reference found IBb, 110

####No Reference found IBb, 113

####No Reference found IBb, 114

####No Reference found IBb, 119

####No Reference found IBb, 125

####No Reference found IBb, 127

IIB7,8,81
Awad-Jatakas
Series IIB
Plate I 7
3534a.JPG
Awad-Jatakas
Awad-Jatakas
Series IIB
Plate I 8
3534b.JPG
Awad-Jatakas
Awad-Jatakas
Series IIB
Plate XVI 81
3564a.JPG
Awad-Jatakas
II31,38,68,93,105, 112, 114, 126, 127
De Gandawyuha
Series II
Plate XVI 31
3005.JPG
De Gandawyuha
De Gandawyuha
Series II
Plate XIX 38
3012.JPG
De Gandawyuha
De Gandawyuha
Series II
Plate XXXIV 68
3042.JPG
De Gandawyuha
De Gandawyuha
Series II
Plate XLVII 93
3067.JPG
De Gandawyuha
De Gandawyuha
Series II
Plate LIII 105
3080.JPG
De Gandawyuha
De Gandawyuha
Series II
Plate LVI 112
3086.JPG
De Gandawyuha
De Gandawyuha
Series II
Plate LVII 114
3088.JPG
De Gandawyuha
De Gandawyuha
Series II
Plate LXIII 126
3100.JPG
De Gandawyuha
De Gandawyuha
Series II
Plate LXIV 127
3101.JPG
De Gandawyuha
III 3
Maitreya
Series III
Plate II 3
3108a.JPG
Maitreya
—7, 11, 13, the temple series that begins with 20, 69, 70, IIIB 67, 88

####No Reference found IIIB, 67

Maitreya
Series IIIB
Plate XIX 88a & b
3378b.JPG
Maitreya
IVB 36, 38
Maitreya
Series IVB
Plate VIII 35 & 36
3732a.JPG
Maitreya
Maitreya
Series IVB
Plate VIII 38
3733a.JPG
Maitreya
IV 42 and 60
Samanta
Series IV
Plate XXI 42
3989b.JPG
Samanta
Samanta
Series IV
Plate XXX 60
3998b.JPG
Samanta
Besides these there are buildings which are evidently mostly copied from what the sculptor saw around him and are therefore valuable evidence for the architecture of that time, and for their etImological importance would be worth comparing with what is found now-a-days in Java and other parts of the Archipelago. Besides plain pendapa's on O 7, 14
Series O
Plate I 7
618b.JPG
Series O
Plate II 14
635a.JPG
etc and probably some of those in the series above enumerated, in particular gateways and small temples, there are specimens of this kind to be seen on O 30, 47, 65, 119, 123, 158
Series O
Plate IV 30
675a.JPG
Series O
Plate IV 30
675a.JPG
Series O
Plate VI 47
716b.JPG
Series O
Plate IX 65
774a.JPG

####No Reference found O, 119

Series O
Plate XVI 123
919b.JPG
Series O
Plate XX 158
998b.JPG
Series O
Plate XX 158
1000a.JPG
Ia 23, 116
Life of Buddha
Series Ia
Plate XII 23
2567a.JPG
Life of Buddha
Life of Buddha
Series Ia
Plate LVIII 116
2613b.JPG
Life of Buddha
Ib 54, 86
main wall
Series Ib
Plate XXVII 54
1183b.JPG
main wall
main wall
Series Ib
Plate XLIII 86
1200b.JPG
main wall
IF3a 271, IBb 106

####No Reference found IBb, 106

IIIB 87
Maitreya
Series IIIB
Plate XVIII 87
3377b.JPG
Maitreya
Maitreya
Series IIIB
Plate XIX 87a
3378a.JPG
Maitreya
IVB 4, 14, 18, 21, 50
Maitreya
Series IVB
Plate I 4
3719b.JPG
Maitreya
Maitreya
Series IVB
Plate III 14
3723b.JPG
Maitreya
Maitreya
Series IVB
Plate IV 18
3725a.JPG
Maitreya
Maitreya
Series IVB
Plate V 21
3726b.JPG
Maitreya
Maitreya
Series IVB
Plate XI 50
3738b.JPG
Maitreya
What a courtyard looked like, we see something of on HI I 1

####No Reference found I, 1

; on the left of this scene is a palatial-looking house, in the centre is a pendapa where the owner of the estate receives his guests and on the right is the rice-shed. Between the house and pavilion in the background there is a fruit tree. A fruit garden enclosed in a fence, but with no house near it, we find on O 61
Series O
Plate VIII 61 & 63
756a.JPG
Series O
Plate VIII 61 & 63
756b.JPG

Whenever a scene takes place indoors, the sculptor shows us one hall or apartment between the outside walls, sometimes with a smaller side-apartment or gallery next to it or on both sides; but never anything more, so that the addition is intended probably only to explain the situation, not as a section of the building as it actually would be.

In this way we do not learn much. Take for example the large hall on If 36, that is divided into three parts by pillars, each part being roofed with a double arch ornamented with a design of foliage turned inwards (conventionalized makara's), hanging flowers and bells; it is impossible to imagine this to be the section of any real building. It might be true that the roof is supported by columns (probably wooden ones), but the loose foliage under the roof is practically impossible. How the sculptor arrived at this is quite evident; by dividing the space into three with the pillars, he obtained three niche-shaped compartments in a row; these he treated like the niches we so often find on the temples with the same sort of arch and foliage-ornament. The effect is very fine, the design into "nichcs" is very artistic, but it does not give us the impression of a hall. Let us not blame the artist for this, we have not the least right to expect from him an architecturally correct section of the apartment and he is perfectly justified, as long as he gives the spectator the idea of the incidents taking place in a hall, in giving his further attention to producing an artistic relief. So the spectator must be satisfied with this as a work of art, while he knows it shews him nothing of what such a hall is like in reality.

This is the case not only with this relief which I selected as a very clear demonstration of what is to be found on innumerable others and can be accepted generally for all sections of this kind; even those which I note as possibly being taken from reality we must judge as adapted more or less to the sculptors artistic requirements. To achieve his aim he may often have introduced some detail from his own time and surroundings, it is not likely he would intentionally avoid doing this, but unfortunately we have no criterion by which to test the real or fantastic elements here put before us; except in such cases as the one just discussed where any one can see at a glance the practical impossibility of such kind of ornament or construction. Everything remains in general very uncertain and can only be guessed at, for instance whether decoration of garlands that is so usual with the p~ndapa's, and is also found in the roofs of halls should have actually existed and whether they might be attached to flower shaped ornaments in the way we see on II 37
De Gandawyuha
Series II
Plate XIX 37
3011.JPG
De Gandawyuha
and others. Another kind of roof decoration is made with semi-circular cushions that hang down as if the whole surface were upholstered; this too is seen in pendapa's (f.i. IV 66
Samanta
Series IV
Plate XXXIII 66
4001b.JPG
Samanta
where bells hang from the centre of the cushions) and in halls of audience (see, with others IIB 20
Awad-Jatakas
Series IIB
Plate IV 20
3539b.JPG
Awad-Jatakas
where rosettes are attached to the cushions). Sometimes we see only one of these ornements right in the middle of the apartment Ib 63
main wall
Series Ib
Plate XXXII 63
1189b.JPG
main wall
IIB 50
Awad-Jatakas
Series IIB
Plate X 50
3551b.JPG
Awad-Jatakas
It is quite reasonable to suppose that this sort of decoration existed in reality, but how can we make sure of it?

Then added to this is the restricted space available on the reliefs for the buildings. The figures acting in the scene must have the first place and are therefore generally represented in apartments quite out of proportion to their size, in which if they stood up their heads would touch the roof. The result is that the sculptor can only find room for his persons and the mostneeded of the larger pieces of furniture; with the small ones that take up less space it is another case, as we shall notice later on. There was of course no chance for any interior decoration of the apartments. In Maya's sleeping-room on Ia 13
Life of Buddha
Series Ia
Plate VII 13
2562a.JPG
Life of Buddha
we see only the recumbent queen with her women and one dish; the famous scene of liakyamuni's awakening in the night on Ia 63
Life of Buddha
Series Ia
Plate XXXII 63
2587a.JPG
Life of Buddha
shews only the Bodhisattva on a bench and the sleeping women; there was no room for a proper couch. In the hall of the palace on Ib 74
main wall
Series Ib
Plate XXXVII 74
1194a.JPG
main wall
the band of garlands round the ceiling is all we see of decoration to the apartment, the same with the cushion-ornament we noted in the roof on IIB 20
Awad-Jatakas
Series IIB
Plate IV 20
3539b.JPG
Awad-Jatakas
; a large couch and a lamp is all the furniture in the room except some small objects put away under the couch. It is the same everywhere; nowhere is there any decoration on the walls. All the same we can get some idea of what the walls look like on reliefs such as O 32 and 73
Series O
Plate IV 32
675b.JPG
Series O
Plate X 73
794a.JPG
There the chief person is seated on a wide throne behind which a beautifully decorated wall can be seen. The rest of both scenes takes place in the open air, so that this cannot be meant for the wall of a room, but at any rate it is a large space that has to be decorated. In the first scene this is done with small pillars on each side of a flat panel under a cornice of garlands and rosettes; the second shews a wall covering in the design of a cross and rosette with four lobes, and a row of round vases above). Though it is quite uncertain if the walls of a room were decorated or even if the whole ornament is not due to the sculptor's fancy, it seems suitable to make mention thereof.