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If this were the case, their ornamentation would prove a surer test of age than the Gateways. As it is only at Sanchi that these Gateways are found, we have no means of ascertaining their: relative age by comparison. * History of Architecture, vol. II. p. 459. . PLATE XXIl. SANCHI, 7 CHAITYX HELL. PLATE XXill. SANCHI. w ‘ ’ RUINS OF VIHERB. - DESCRIPTION OF PLATES. 111 PLATES XXIL. anv XXIII. CHAITYA AND VIHARA. As before mentioned (p. 80), these (marked Q in Plate I.) are the only remains ‘ef a. structural Chaitya hall that have yet been discovered standing in India. But, No. 14, -judging from its style, it must be considerably. more modern than any of — ‘the buildings just described. As will be seen from the plan, it consists of.a nave with six. pillars on each side, and measuring internally 29 feet north and south, by 19 feet 4 inches. Beyond this is a choir 27 feet by 19 feet, surrounded by a wall 4 feet thick, though at present. only about 2 feet high; but the photograph reveals to us the fact that the last pillar, was evidently built into a wall to its whole height.. “In the. centre,” Colonel Maisey says, “of the curved end is a mass of débris . & which seems to have been the remains of a Chaitya, or relic shrine,, Puan ov Cuarrra such as is seen in the Buddhist Caves.” “ Round the exterior of the | Seale, 30%. to lia, “ circular part,” he adds, “are traces of masonry at some distance.” There can be no doubt but that this is just such a hall as:we meet so frequently at Karlee, Ajanta, and elsewhere. It must originally have had a wooden roof, of a form it would not be difficult to restore, and it was surrounded by an aisle, but whether entirely free, or supported by wooden pillars, is not quite clear.. The fact of its internal pillars being of stone and of the slender masonic shape shown in the photograph, proves it to be much more modern than the Cave at Karlee or the oldest at Ajanta, which it is nearly certain date from about or before the Christian era. These, though in the rock, retain in every feature their original wooden con- structive form. Here, where wooden pillars would have been admissible, stone takes their place. This could hardly have happened bate the fourth or fifth century. - It’ may be even more modern than that date. It would be extremely interesting, if it could be soared by excavations what the width and form of the outer aisle were in this example, as enabling us to under- ‘stand what is now obscure in those cut in the rock. In all those the ‘ornamental pillars extend on each side of the nave, as here, to nearly where the Dagoba stands-— as we would express it, to the entrance of the choir. The apse is in all ‘the older ~ rock-cut examples surrounded by plain octagonal shafts without base. or capitals, but why this should be so has hitherto always been a mystery. If, however; it was. ‘thé* custom, as in this instance, to enclose the choir by a solid wall in a structural Chaitya, it is evident that such a form could not be adopted in the rock, as in this case the circumambient aisle would thus have been absolutely dark. In structural’ examples the aisle could easily have been lighted from the exterior ; indeed, it probably was an open 112 THE TOPE AT SANCHI. colonnade. The plain pillars in the rock may thus have been intended to reproduce © the solid wall of the structural example. Possibly that part was ormamented with frescoes in structural Chaityas, and may have been hung with tapestries on state and festival occasions in those excavated in the rock. . _ VIHARA. The photoeranhcs —Plate XXIII.—represents in like manner almost the only standing remain of one of the Vihdras. or Monasteries which, when Buddhism was ‘flourishing, were to be found in every part of India. From its plan (marked L in Plate I.) and details it is, however, evidently much more modern:than even the Chaitya hall last described. The central cell is a Sind feature not found in the Caves before the sixth or Viana at Sancnt. seventh century, and this'‘one has so Hindu-like an renee ae aspect that it is impossible not to suspect that it may be much more modern. There were apparently only three cells on each side, one 12 feet by 8, the other two 8 feet square. These open into a verandah, at one end of which is a.figure of Buddha seated crossed-legged and similar to another which occupies the central sanctuary. Colonel Maisey’s drawing of the last .of these is reproduced in Plate XLI. Its style would tend to the impression that it at least belongs to the latest date of. Buddhist art in India. Four statues of Buddha very similar in style and design to this stand within the Rail ofthe great Tope opposite to each of the four entrances. They are all, however, evidently so modern that they have no connexion wliatever with the original design, and may have been added as - late as the ninth or tenth centuries of our era. The great Vihaéra (marked N in Plate I.) seems to have been tated exactly opposite to the eastern entrance of the great Tope, but it is now so completely ruined that its plan can hardly be made out, and no details of architecture are standing from which its character or age could be determined. The spot, however, is interesting, as this probably is the site of the Maha Chaitya, erected by Aéoka’s Queen, and in which Mahindo resided (B.c. 250) before proceeding on his mission to Ceylon.* Vide ante, p..90. PLATE XXIV. Sate Ce ys 4 : Gi ¥ ; ro = fas < a} ; f i (\ 4 ae X bad ay ; \( “ee E G XQ 4 i - ‘ ‘ = ee j ri g 4 se — = . 7 4 A a} a Sin ——— oN ails $ = 4 ce er 4 f 3 al a} EE , af /pie a) < — j i : ) : poe Yim) ; n \) . > 5 ) >) j z S i i QD) 4 = i: i > Macau =< @ Ze, ——— = e a a KE \ r Lr COL. MAISEY WX G x g eC U L p 1 U 2 E 3 ; W.GRICCS, LITH 113 DESCRIPTION OF PLATES. PLATE XXIV. Tue subjects of the two bas-reliefs, lithographed from Colonel Maisey’s drawings in Plate XXIV., may be taken as the typical form in which the Naga is generally represented both at Sanchi and Amravati. The upper one is found in the centre of the inner face of the left-hand pillar of the Eastern Gateway (Plates XIV. and XV.) The lower one is found in the corresponding. position on the left-hand pillar of the Western Gateway (Plate XIX.), but whether this correspondence of position is accidental or has any meaning is by no means certain, I is worth remarking, however, as such coincidences may eventually lead to some theory of decoration being discovered. ‘The upper bas-relief represents those people I have ventured to ‘eal Dasyus, -worshipping the five-headed Naga, who appears in a small hexagonal temple, raising his head over what appears to be an altar. In front of him stands a pot of fire, but whether this is to be considered as a fire altar or not must be left for future consideration ; but what is still more remarkable is that fire is certainly issuing from the openings in the roof of the temple. “I am of course aware that it has been frequently suggested that the Serpent is the emblem of the Sun, and that Fire is the natural représentative of the Solar Deity; but all this is indistinct everywhere, and it does not appear to have any local reality in India. On the other hand, we know that two of the principal Vedic gods—Indra (the firmament) and Agni (fire)—were adopted into their pantheon by the early Buddhists, and it seems more reasonable to connect, this. appearance of fire with the pre-existing worship of Agni. than with any far-fetched allusion to solar worship. We shall have occasion to return to this subject presently, S fire occurs in another bas-relief at Sanchi, but never at Amravati, nor, so far as I know, in any more modern Buddhist monument. In the.“foreground of the bas-relief we have an old man seated in a eircular leaf- thatched. hut. A scarf is bound round his knees and loins, a very usual attitude in India at “all times. His upper garment is hung up behind him in the hut, and in front is a bearded man of his own tribe, apparently addressing him. Near the last’is another pot of fire, with three pairs of tongs or ladles, and what appears to be a bundle of sticks to keep up the flame. Close beside him are an elephant, _ two buffaloes, sheep, and deer; but whether it is intended that they too should be _ worshipping, or merely represent property, must be left uncertain for the present. On the left of the picture two boys and a girl seem to be amusing themselves at play, but, which is remarkable, they are as decently clad as their elders, and in strange contrast with the superior race in the lower picture of the Plate. The whole scene is represented as passing in a forest. Above are trees and rocks, with monkeys and peacocks; below, a reedy marsh opening into a lake with lotus flowers, and occupied by geese. . The lower bas-relief represents a very different scene. In the centre of the upper part is the sacred tree, behind its altar, with its Chatta and garlands, occupying (4799) P : 114 THE TOPE AT SANCHI. the same position the serpent did in the other. Two Garudas or Devas,* or flying figures, present garlands, and two female figures, riding on eriins of strongly marked Assyrian aspect, approach it on either side. In the centre of the lower part of the picture sits the Raja or chief male personage on the Naga, whose five-headed hood shelters him. Oh his right sit three ladies on stools, eating and drinking, and each with her tutelary snake behind her. Above those a female Chaori bearer and a woman with a bottle—let us hope of water ; but they, too, have snakes behind them.