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Alfred Russell Wallace, Brumund, Fergusson, all join in the chorus of praise, and the latter, in his "History of Indian and Eastern Architecture," expresses the opinion that the Boro Budur is the highest development of Buddhist art, an epitome of all its arts and ritual, and the culmination of the architectural style, which, originating at Barhut a thousand years before that is more than twenty-one centuries ago had begun to decay in India at the time the colonists were erecting this masterpiece of the ages in the heart of Java.
Remembering the fertility of the Eastern imagination, and the despotic character of Eastern rulers, it is easy to understand that such babads were more often than not reduced in point of veracity to the standard of an average fairy tale. M. Brumund, whose remarks on this subject are embodied in Leemans' work on the Boro-Boedoer temple, deals very severely with the babads.
That the babad is capable of being approached from two different points of view is apparent from the following extracts, in which I have compared M. Brumund's treatment of a babad of only fifty years ago with Mr. Nieman's account of an earlier babad in the possession of the Royal Asiatic Society. M. Brumund says
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