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hover around it, and offer garlands or baskets containing ‘some objects it is impossible to distinguish. When we come to describe the representations of Topes at Amravati, it will be seen what immense progress had been made in decorating these objects during the three centuries that followed the erection of the Sanchi Gateways. If, however, we compare the Sanchi Dagobas with those found in. the Caves of Karlee, or the earliest at’ Ajanta, it will be seen that they are nearly identical. As it has always been assumed, though on perfectly independent grounds, that these Caye Dagobas dated from about the Christian era, this is another confirmation of the date above assumed for the Sanchi portals. . The exceptional Dagoba represented in Fig. 1. of the Plate is the upper bas- relief on the inside of the right-hand pillar of the Northern Gateway (Plate X.). It is very much taller than any of the others, and is surrounded by three Rails. The upper one of these, possibly the two upper, are attached. It may be merely ornamental * The upper (Fig. 2.) is from the right-hand pillar of the Northern Gateway at top (Plate XI.). The lower (Fig. 3.) is from one of the beams or architraves of the same gate. _(4799.) a Q 122 THE TOPE AT SANCHI. like those in thet Topes in Afghanistan: The lower is certainly detached, and two figures are standing within it with offerings in their hands. This lower enclosure is entered by a gateway, apparently of wood, but evidently the prototype of the Sanchi portals. The Tee is surmounted by three umbrellas, with their dependent garlands, and:on each side are two Garudas bringing offerings. The most interesting point with reference to this bas-relief is,*that the people who are represented in the foreground are neither the Dasyus nor the Hindus, who appear in all the other sculptures, but an entirely different race, and who are seen at Sanchi only in this bas-relief. They are all shaven, generally have their heads bare, and the hair bound by a small fillet. Their hair also is peculiar, being short and curly, like a negro’s, or as that of Buddha is represented to be in more modern times. Their costume is a tunic with sleeves, fitting tightly to the neck, and reaching below the knees,* being unlike the kilt and cloak of the Dasyus or the dhoti of the Hindu, and their boots or sandals (Fig. 5. Plate III.) are also quite different from any seen elsewhere. Their musical instruments are also new to us. The double pipe replaces the fife. The drum is differently formed, and the trumpets are of a kind seen nowhere else in the sculptures. Their banner alone, with its “stars and stripes,” — or rather stars and Union Jack combined, is like what we shall afterwards meet, but this may be local and peculiar to Sanchi. Who are the*people here represented? Their costume would indicate the inha- bitants of a northern, or at least a colder climate. Their woolly hair points to a southern, unless it may be that some people with close curly hair did at this time inhabit Afghanistan or some of the countries near it. It has ever been one of the puzzles of Buddhism that the founder of the religion should always have been represented in sculpture with woolly hair like that. of a negro. That the Prince Siddhartha had flowing locks is certain, but how and when the change took place is the difficulty. If we could tell who the people here represented are, it would solve the problem, They probably were the first that’ made statues of Buddha, and they endowed him with their crisp locks. The impression left on my mind is, that they are inhabitants of the’ Cabul valley, not only from their costume and the tallness of their Tope, but because of their general resemblance to some sculpture found at Tak i Bahai, north of Peshawar. ‘They have no women with them, which is unfortunate, as their costume might afford some useful indications, but the circumstance of their absence shows that they were strangers. Some further light will be thrown on the ~ subject before we are done; at present it had perhaps better be left undetermined. * Arrian (XVL), quoting apparently from Nearchus, describes the Hindus as wearing tunics (x@wv) of cotton reaching to the knees. The kiton cannot, according to the usual interpretation. of the word, be applied either to the kilt of the Dasyus or the dhoti of the Hindus, but might be applied properly to this garment. The context, however, makes it more likely that. a kilt was meant, because he adds, “They also wear veils, which ’ cover their heads and a greater part of their shoulders.” If they wore the sleeved tinic represented in this sculpture, such a garment would be superfluous. SANCHILY > N MY NS ( | Vj mn PLATE XXIX. — LT i LE é as Chit oe Zin ayy pes Ulises s| = J NZ ine ¥ PA Fa Say Gs i Zua3 La 4 ta \ i j si RAK ii} by f He fe \\ i iy _o ay \\, y UR \ ) the y Z + , fs: \\ FS OQ) AA AS \ iS * = a 4 ) — peg . a ; SSA APTN SJ | 4 | : Ce SRY | f . ROY ABE OS A : X OY hy ; “4 A) / ] : ; : | j ; a" \ a . =i | Hf RR " ; SER: }. : if — | J ; NA /\ IY : ; LNG : | | ) A \f K | A Li; = BEBEEREEREERERE + s ~ C i < Raen>.. ; SE] Se NN NS P SN ) ae YRD ~ Nyeg < = ; 4 rer , 2 N aS S hy < = S > . i w. als] ; f _ DESCRIPTION OF PLATES. 123 PLATE XXIX.. Tn wheel represented in the lower picture of this Plate is among the most common emblems both at Sanchi and Amravati. It crowned the centre of all the four Gateways, though only a fragment of it occurs now on the Northern one (Plate VI.). My impression is that all the pillars surmounted by lions.in front of the Caves, as at Karlee, supported originally a wheel in metal,* and probably some of the Stambhas or pillars in front of the Gateways, both here and af Amravati, were crowned by this emblem. After the Tree and the Dagoba, it ranks third among the objects to be worshipped. In the Lalita-Vistara it is described as one of the seven precious things indispensable to a Chakravarti Raja. ‘The King,” it goes on to ‘say, “ whose fore- “ head has received the royal consecration, having thrown his mantle over one “ shoulder, .and placed his right knee on the ground, with: his right hand pushes ‘‘ the divine wheel, saying, ‘Turn, venerable and divine treasure of the wheel, with ¢the Law, but not without the Law.’”+ The expression that at Benares Buddha begun: to turn the wheel of the Law, and afterwards that he did so at various other places, is one of the most common phrases in Buddhist scripture; and both from these expressions and the relative positions it occupies in the scriptures, it hardly appears doubtful but that the wheel represents Dharma, the second member of the Buddhist Triad. Of this, however, we shall be better able to form an opinion when the Amravati sculptures have been described. In the meanwhile, to avoid all theory, it will be convenient simply to describe it as the Chakra or the Wheel, ‘leaving its meaning to be determined hereafter. ' me In this instance, as generally at Sanchi, it has thirty-two spokes. It was sur-_ ‘mounted by a Chatta with garlands, and ministered to by Garudas. It stands on an ; - altar, on each side of .which is a deer in act of adoration, but whether the rest of the herd on the right hand are to be considered as worshippers or not, is more difficult to determine. ‘Their presence here seems to be an allusion to one of the eight signs which distinguish the incarnation of Buddha. Of these the seventh is ‘“ Turning _ the wheel of the ‘Law in the park of deer.”’{ This deer park is especially famous in Buddhist legends. It was visited and carefully described by Hiouen Thsang.§ Among other things he mentions, “In the centre of the chapel (Chaitya) is a statue of * Buddha in copper, of the exact dimensions of Tathigata, whom it represents “ turning the wheel of the Law.” The place is now known as Sarnath, north of Benares, and a celebrated Dagoba now standing there is the best known Buddhist monument in India.. In Buddhist times it was always known as the Mrigadava or Deer park, and renowned as the. place where Sikya Muni first and principally taught. The presence of the deer here, and the flowering trees and shrubs, seem * Fo&-Koué-Ki, XX. 171. . tI-RA.S. XX. p. 140. t er aes translated by Foucaux, Til. 15, § Voyage, I. p. 182. Q 2 124” . THE TOPE AT SANCHI. almost certainly intended to indicate this spot, and the wheel is either meant to represent the one that Buddha turned, or is at least symbolical of his preaching. The eight men who are represented as worshipping seem all of equal rank, and as many more were probably ranged on the other side. They are all dressed as Hindus, and all have their hands joined in the attitude of prayer. The upper figure in. this Plate is one of several at Sanchi, of which it is very difficult to suggest a plausible interpretation. In the foreground ten Hindus in two rows appear to be worshipping the facade of a rock-cut Chaitya Cave. This may be intelligible enough, but on the right hand two human-headed rams, and on the left axe scen two monsters apparently joined together, half lion half dog, and above these flame issuing from the rock, occupies the whole of the upper part of the picture. The monsters in the upper part of this picture are, so far as I know, unique, put no doubt possess some mystic meaning which some one familiar with the Tan- tras may be able to explain. The most curious part, however, is the fire and flames: which seem issuing from the rock. Hitherto we have only met with fire in con- junction with the-Dasyus and with Serpent Worship, as in Plate XXIV., but the people here represented are all Hindus, and no trace of the Serpent is visible. Besides the flame looks more like a natural phenomenon than an artificial fire, but certainly.