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.

Phiménan Aca. The Palace of the ancient Kings.

Three walls at some distance from each other, and each bounded by a moat, surround what remains of the palace of the ancient kings. Within the first enclosure are two towers connected by galleries, which form four sides, like a triumphal arch. The walls are of ferruginous stone, and the length of each block forms the thickness of the wall. The towers and galleries are of sandstone.

A hundred metres from the angle of the square formed on the north side by the wall, is a singular building, consisting of two high terraces, and communicating with the outer wall by another terrace half in ruins.

In a cavity recently made by excavations, are visible large sculptured blocks, which seem to have fallen from the top. The walls, still intact, are covered with bas-reliefs, disposed in four rows, one above another, each representing a king seated in the Oriental fashion, with his hands resting on a broken poignard, and by his side a number of women. All these figures are covered with ornaments, such as very long earrings, necklaces, and bracelets. Their costume is the langouti, and all wear high head-dresses terminating in a point, and apparently composed of precious stones, pearls, and gold and silver ornaments.

On another side the bas-reliefs represent combats; and here are children with long hair tied up like the savages of the East. Everything here, however, yields in beauty to the statue of the leprous king, which is at the end of the terrace. The head, admirable in its nobility, regularity of feature, and gentle yet proud expression, must have been the work of the most skilful sculptor of the country, in an age when many, doubtless, evinced great talent. A small moustache covers his upper lip, and his hair falls in long curls over his shoulders; but the whole body is naked, and without ornament. One foot and one hand are broken.

Prea sat sour prôt.

About 1200 metres in front of the building just described is one called “Prea sat sour prôt,” and said to have been the royal treasury. It is square, and consists of sixteen towers connected by galleries, but nearly all in ruins: the doorways and walls are ornamented with sculpture, as in the other remains. It served, they say, as a depository for the crown jewels. The Cambodians also believe that ropes were stretched from one tower to another, on which dancers exercised their skill in the presence of the king, who, seated on one of the neighbouring terraces, enjoyed their performances. All traditions being lost, the natives invent new ones, according to the measure of their capacity.

The centre of the interior of the third enclosure is occupied by an immense esplanade, supported by walls formed of magnificent blocks of stone, sculptured and surrounded by staircases. The ground is level; but in the excavations that had been made I remarked large masses of carved stone.

Not far from this esplanade is a square building in tolerable preservation, the basement composed of great blocks of ferruginous stone, as are the staircases, of which there are four, one on each side; but they are so steep, narrow, and worn away that it is difficult to climb them. The base supports small galleries, very narrow, and having windows with carved bars. The stones and every doorway are covered with inscriptions.

In the centre of the gallery rises a ruined tower, approached by four staircases, as awkward to ascend as the others just mentioned. Near the doors are some figures of women, standing with flowers in their hands. This building appears very old: the stone is crumbling away like rotten wood.

Prea sat Fiao Saïe.

On the banks of the river which skirts the eastern side of Ongcor Thôm are several remains. The first you come to is Fiao Saïe, two or three hundred metres from the water’s edge. Large and deep ditches surround it on all sides; and when these have been crossed you arrive in front of a terrace 45 metres long, and 2 metres 50 centimetres in width. Four rows of columns 1 metre high are all that is left standing. Those in the middle rows are square, the others are fluted, with capitals. This terrace leads to a square formed by four galleries, each 20 metres long: the one facing the terrace has three porticoes with doors and staircases, while in the centre, and at each corner of the gallery, are towers.

Another gallery, 40 metres long, leads from the central tower to another larger one, where, on a high pedestal, is placed the principal idol. On each side of this tower are three staircases, with porticoes projecting four or five metres, and supported by six high columns. All the windows have been ornamented with twisted bars, many of which still remain. By the side of each door are carved columns, every block being cut and polished with infinite patience and art. There are some bas-reliefs portraying a lion devouring a stag, dances, pantomimes, worshippers before idols, &c. As at Ongcor-Wat, the building is entirely composed of great blocks of sandstone.

Prea sat Iheur Manone Tireada, or the Temple of the Angels.

This little pagoda is only about 150 metres from the preceding, and, according to tradition, was formerly a celebrated school for Buddhist theology. At the east is the principal entrance, which consists of a gallery 18 metres long, with a portico in the centre, and staircases. A second gallery, 30 metres long, terminated by a tower, extends from the centre of the other, and at about two-thirds of its length open out on either side porticoes and staircases. There are two other small buildings north and south, and a third behind the tower. That on the south is in good preservation, but receives no light except through a single door. This pagoda has been built with smaller stones than the other temples: in its architecture and details it much resembles Fiao Saïe.

The Bridge.

Near Iheur Manone Tireada is a bridge of very ancient date, in a fair state of preservation, excepting the parapet and a portion of the roadway, which are a mass of ruins; but the piers and arches still remain. The piers are formed of sandstone, some of the blocks being long, others square, and placed irregularly; a few only are carved.

This bridge, with its fourteen narrow arches, may be about 42 or 43 metres in length, and 45 metres wide.

The river, instead of flowing under its arches, runs now along the side, its bed having been altered by the shifting of the sand, which has so accumulated around the piers and fallen stones, that a great portion of the former is concealed.

This bridge must have served as a communication between Ongcor the Great and the high road, which,