as they rise, culminating in the sanctuary, a great central tower
pyramidal in form. Towers also surmount the angles of the terraces
of the two upper stages. Three galleries with vaulting supported on
columns lead from the three western portals to the second stage.
They are connected by a transverse gallery, thus forming four square
basins. Khmer decoration, profuse but harmonious, consists chiefly in
the representation of gods, men and animals, which are displayed on
every flat surface. Combats and legendary episodes are often depicted;
floral decoration is reserved chiefly for borders, mouldings and
capitals. Sandstone of various colours was the chief material employed
by the Khmers; limonite was also used. The stone was cut into huge
blocks which are fitted together with great accuracy without the use
of cement.

See E. Aymonier, _Le Cambodge_ (3 vols., 1900-1904); Doudart de
Lagrée, _Voyage d'exploration en Indo-Chine_ (1872-1873); A.H. Mouhot,
_Travels in Indo-China, Cambodia and Laos_ (2 vols., 1864); Fournereau
and Porcher, _Les Ruines d'Angkor_ (1890); L. Delaporte, _Voyage
au Cambodge: l'architecture Khmer_ (1880); J. Moura, _Le Royaume de
Cambodge_ (2 vols., 1883).



ANGLE (from the Lat. _angulus_, a corner, a diminutive, of which the
primitive form, _angus_, does not occur in Latin; cognate are the Lat.
_angere_, to compress into a bend or to strangle, and the Gr. [Greek:
ankos], a bend; both connected with the Aryan root _ank_-, to bend:
see ANGLING), in geometry, the inclination of one line or plane to
another. Euclid (_Elements_, book I) defines a plane angle as the
inclination to each other, in a plane, of two lines which meet