XIII. - Bas-relief of Battle Scene.<BR> <BR> The part of the bas-relief represented in this photograph occurs in the centre of a battle scene in the western gallery, where two armies are seen approaching from north and south, and closing in battle in the centre. The characteristics of the two forces, their chariots, their horses, their elephants, their costume, and their weapons, are so similar, that there is some difficulty in distinguishing between the combatants. There are differences, however, which one discovers on closer examination, but they are so slight as to indicate that the contending parties, if not of one nation, must have been closely allied in blood to each other. It is probably the record of some great international struggle that preceded the introduction of a new form of religion. Where the chiefs of the two parties appear, seated in the exquisitely constructed chariots, one of which occupies the centre of the photograph, what seem to be their titles are inscribed on the stone near the head of each. These brief records are graven in the characters of a dead language; and until they, and other inscriptions of the temple, can be translated, we can know little of its real history, or of the meaning of the subjects depicted in the bas-reliefs.<BR> The portions of this scene shewn in the photograph will give a general idea of the skill displayed in the execution of the whole subject. Viewing it as a work of art, it will compare favourably with any of the Assyrian bas-reliefs of a like nature. It would be difficult indeed to conceive of a more animated representation of a battle scene. How admirably that horse is represented, in the upper part of the picture, plunging into the thick of the enemy's ranks; while its well-poised rider, with sword in hand, is preparing for the deadly work before him. Then again, beneath: it was no mean knowledge of art that suggested the forcible contrast of the wounded horses in the chariot of the chief, who is vainly resisting the upraised spear of the enemy. The position of the soldiers, shewn in the lowest left corner of the picture, conveys some information regarding the mode in which the infantry fought, indicating that they were well-disciplined and accustomed to the usages of war: they are advancing with upraised spears behind a rampart of shields.(*)<BR> The chariot represented, and more especially its wheel, conveys some of the advanced stage which the ancient Cambodians had reached in the minor details of constructive art. A wheel to combine in a higher degree the elements of strength with that of lightness could not be constructed by the most accomplished artizan of the present day; while to stand the rough usage of a war chariot, it must have been, if not entirely, partly constructed of metal; so that had we no further proof, the inference may be fairly drawn, that the buildings were skilled in the use of metals. (!) In another of the bas-reliefs, however, we find mechanical appliances used for the torture of human beings, such as a double-handed saw or knife; a lever, where the power is being applied by muscular force - the fulcrum a strong rope, and the weight a human body; and alongside of this we find criminals being pounded in a mortar - all of which appliances, although used as instruments of torture in this case, must have been in common use in the arts of the ancients.<BR> <BR> (*) The mode of attack, and the form of shields, suggests to me a comparison with the Dyaks of Borneo.<BR> (!) In Bangkok, in one of the king's temples, there are a number of idols and bronze lions, said to have been brought from Nakhon Wat.<BR> <BR> in: Album "The antiquities of Cambodia a series of photographs taken on the spot With Letterpress Description By John Thomson, F.R.G.S., F.E.S.L., Edinburgh: Edmonston & Douglas MDCCCLXVII"; opgenomen in KIT Library ILS (RF-279) page 59.<BR> <BR>