The former is a small cave, consisting of two cells, together 30 ft. long by 10 ft. wide, in front of which is a verandah, slightly longer, that was once adorned with five pillars, though only three are now standing (Woodcut No. 70). There is an inscription on this cave in the Kutila characters, dedicating it to Jaganath; but this is evidently an addition in modern times.[172] The style of the architecture may be judged of from the annexed woodcut, representing one of its pillars (Woodcut No. 71). They are of extreme simplicity, being square piers, changing into octagons in the centre only, and with a slight bracket of very wooden construction on each face. The doorways leading into the cells are adorned with the usual horseshoe formed canopies copied from the fronts of the chaitya halls, and which we are now so familiar with from the Bharhut sculptures, and from the openings common to all wooden buildings of that age.

The other cave is very much larger, being two storeys in height, both of which were originally adorned by verandahs: the upper 62 ft. long, opening into four cells (Woodcut No. 72), the lower, 44 ft., opening into three. All the doors leading into these cells have jambs sloping slightly inwards, which is itself a sufficient indication that the cave is anterior to the Christian Era, it may be, by a century or thereabouts. Of the nine pillars of the upper verandah only two remain standing, and these much mutilated, while all the six of the lower storey have perished. It seems as if from inexperience the excavators had not left sufficient substance to support the mass of rock above; and probably, in consequence of some slight shocks of an earthquake, the mass above fell in, bearing everything before it. Either then, or at some subsequent period, an attempt has been made to restore the lower verandah in wood, and for this purpose a chase has been cut through the sculptures that adorned its back wall, and they have been otherwise so mutilated that it is almost impossible to make out their meaning. Fortunately, those of the upper verandahs are tolerably entire, though in some parts they, too, have been very badly treated.

Besides this, which may be called the main body of the building, two wings project forward; that on the left 40 ft., that on the right 20 ft.; and, as these contained cells on both storeys, the whole afforded accommodation for a considerable number of inmates.

The great interest of these two caves, however, lies in their sculptures. In the Ganesa cave there are two bas-reliefs. The first represents a man asleep under a tree, and a woman watching over him. To them a woman is approaching leading a man by the hand, as if to introduce him to the sleeper. Beyond them a man and a woman are fighting with swords and shields in very close combat, and behind them a man is carrying off a naked female in his arms.[173]

The second bas-relief comprises fifteen figures and two elephants. There may be in it two successive scenes, though my impression is, that only one is intended, while I feel certain this is the case regarding the first. In the Raj Rani cave the second bas-relief is identical, in all essential respects, with the first in the Ganesa, but the reliefs that precede and follow it represent different scenes altogether. It is, perhaps, in vain to speculate what episode this rape scene represents, probably some local tradition not known elsewhere; its greatest interest for our present purposes is that the first named is singularly classical in design and execution, the latter wilder, and both in action and costume far more purely Indian. Before the discovery of the Bharhut sculptures, it is hardly doubtful that we would have pronounced those in the Ganesa cave the oldest, as being the most perfect. The Bharhut sculptures, however, having shown us how perfect the native art was at a very early date, have considerably modified our opinions on this subject; and those in the Rani cave, being so essentially Indian in their style, now appear to me the oldest. Those in the Ganesa Gumpha, as more classical, may have been executed by some Yavana artist at a subsequent age, but still both seem anterior to the Christian Era.[174] The other bas-reliefs in the Raj Rani cave represent scenes of hunting, fighting, dancing, drinking, and love-making—anything, in fact, but religion or praying in any shape or form. From the sculptures at Sanchi and Bharhut, we were prepared to expect that we should not find any direct evidence of Buddhism in any sculptures anterior to the first century of the Christian Era; but those at this place go beyond these in that respect. Nothing here can be interpreted as referring to any scenes in the life of Sakya Muni, or to any known jataka, and it is by no means clear whether we shall ever discover the legends to which they refer. Besides these bassi-relievi, there is in the Rani cave a figure, in high relief, of a female (?) riding on a lion. Behind him or her, a soldier in a kilt, or rather the dress of a Roman soldier, with laced boots reaching to the calf of the leg—very similar, in fact, to those represented Plate 28, fig. 1, of ‘Tree and Serpent Worship,’ as strangers paying their addresses to the three-storeyed dagoba—and behind this, again, a female of very foreign aspect.

In another cave of the same group, called the Jodev Garbha, and of about the same age, between the two doorways leading to the cell, a sacred tree is being worshipped. It is surrounded by the usual rail, and devotees and others are bringing offerings.[175]

In another, probably older than either of the two last-mentioned, called Ananta Garbha, are two bassi-relievi over the two doorways: one is devoted, like the last, to Tree worship, the other to the honour of Sri (vide ante, p. 51). She is standing on her lotus, and two elephants, standing likewise on lotuses, are pouring water over her.[176] The same representation occurs once, at least, at Bharhut, and ten times at Sanchi, and, so far as I know, is the earliest instance of honour paid to god or man in Indian sculptures.

One other cave deserves to be mentioned before leaving Udayagiri. It is a great boulder, carved into the semblance of a tiger’s head, with his jaws open, and his throat, as it should be, is a doorway leading to a single cell (Woodcut No. 73). It is a caprice, but one that shows that those who conceived it had some experience in the plastic arts before they undertook it. From the form of the characters which are engraved upon it, it is undoubtedly anterior to the Christian Era, but how much earlier it is difficult to say.

From whatever point of view they are looked at, these Orissan caves are so unlike anything that we have previously been in the habit of considering Buddhist, that it may well be asked whether we are justified in ascribing their excavation to the followers of that religion at all. Not only is there no figure of Buddha, in the conventional forms and attitudes by which he was afterwards recognised, but there is no scene which can be interpreted as representing any event in his life, nor any of the jatakas in which his future greatness was prefigured. There is no dagoba in the caves[177] or represented in the sculptures, no chaitya cave, no wheel emblem, nor anything in fact that is usually considered emblematical of that religion.

When we look a little more closely into it, however, we do detect the Swastica and shield emblem attached to the Aira inscription, and the shield and trisul ornament over the doorways in the older caves, and these we know, from what we find at Bharhut and Sanchi, and at Bhaja (ante, p. 112), were considered as Buddhist emblems in these places. But were they exclusively so? The trisul ornament is found on the coins of Kadphises, in conjunction with the bull and trident of Siva,[178] and we have no reason for assuming that the Swastica, and it may be even the shield, were not used by other and earlier sects.

The truth of the matter appears to be that hitherto our knowledge of Buddhism has been derived almost exclusively from books, which took their present form only in the fourth or fifth century of our era, or from monuments erected after the corruptions of the Mahayana introduced by Nagárjuna, and those who assisted at the fourth convocation held by Kanishka in the first century of our era. We now are able to realise from the sculptures of Bharhut, of these caves, and of the Sanchi gateways, and the older western caves, what Buddhism really was between the ages of Asoka and Kanishka, and it is a widely different thing from anything written in the books we possess, or represented afterwards in sculptures or paintings. Whether we shall ever recover any traces of what Buddhism was between the death of Sakya Muni and Asoka, is more than doubtful. If found, it would probably be even more unlike the present Buddhism than that of the intermediate period. Judging from what we have hitherto found, it looks as if it would turn out to be a pure worship of trees by a Naga or serpent-reverencing race, on whose primitive faith Asoka engrafted the teachings of Sakya Muni. There were Buddhists, of course, in India before Asoka’s time, but it seems doubtful if they were sufficiently powerful to dig caves or erect monuments. None at least have yet been discovered, and till they are we must be content to stop our backward researches with such a group of monuments as these Udayagiri caves.

Western Vihara Caves.

There are at least four Viharas which we know for certainty were excavated before the Christian Era. There are probably forty, but they have not yet been edited with such care as to enable us to feel confident in affixing dates to them. The four that are known are those attached to the chaityas at Bhaja and Bedsa (Woodcuts Nos. 45, 49), and the two oldest at Ajunta, Nos. 12 and 11. Those at Karli are probably coeval with the great chaitya itself, but, strange to say, they have never been drawn or investigated, so that we really know little or nothing about them. At Junir there are several, which are very old, and at Sana and Tulaja, in Gujerat, there are several of very ancient date, but they, like those at Junir, are too imperfectly known to be quoted as authenticated examples of the period.

The oldest of these is that attached to the chaitya at Bhaja (ante, Woodcut No. 45). It is five-celled; three of these have single stone beds in them, one is double-bedded, and one, apparently the residence of the superior, is without that uncomfortable piece of furniture. In front of these are two long stone benches at either end of a hall 33 ft. in length. It is not clear whether this hall was always open as at present, but, if it was closed, it was by a wooden screen like the chaitya beside it, which is undoubtedly of the same age. They are indeed parts of one design. The same may be said of the Bedsa vihara, though placed a little further apart. In this case, however, there are three cells with stone beds in the verandah of the chaitya, and a fourth was commenced when apparently it was determined to remove the residence a little further off, and no instance, I believe, occurs afterwards in which they were so conjoined, till at least a very late date, when, as at Dhumnar (Woodcut No. 65), all the parts got again confounded together. As will be seen from the plan (Woodcut No. 49) it is exceptional in form, being apsidal like the chaitya itself. It is not clear whether this is a copy of any existing wooden erection, or whether it was that, being the first attempt at an independent vihara in the rock, they thought it ought to resemble a chaitya in plan. My impression is that the latter is the true explanation; such an arrangement in a free-standing structure intended for a residence would be absurd, but we are here assisting at the “incunabula” of the style, and must not be surprised at anomalies.

Number 12 at Ajunta is merely a square hall, measuring 36 ft. 7 in. each way. It has no pillars, and its only ornament consists of seven horseshoe arches, four of which are over the doors of cells, the other three only ornamental. Unfortunately, the rock over its front has given way, and carried with it the façade, which probably was the most ornamental part of the design.

Number 11 is a step in advance of this one, there being four pillars in its centre (Woodcut No. 74). It has nine cells, but is without any sanctuary or ritual arrangement. In age, it seems to be contemporary with the chaitya No. 10, to which it evidently belongs, and like it may be considered as a transitional example, dating about the Christian Era, or rather before that time.

The most marked characteristic of these early viharas on the western side of India, is that unlike their eastern contemporaries, they are wholly devoid of figure-sculpture: no bassi-relievi, not even an emblem, relieves the severity of their simplicity. Over the doorways of the cells there are the usual horseshoe arches, copied from the windows of the great chaityas, and the invariable Buddhist rail repeated everywhere as a stringcourse, with an occasional pillar or pilaster to relieve the monotony.

There do not at present seem to exist any data sufficient to account satisfactorily for this curious difference between the exuberance of figure-sculpture in the east, and its total absence in the west in the pre-Christian Era caves, and the problem must be relegated for further inquiries. Looking, however, at the progress made of late years in these subjects, there is little doubt that its solution is not far off, and will, when reached, throw fresh light on the early history of Buddhism. Meanwhile, it may be worthy of remark, that the only living representation that is common to both sides of India, is the presence of the three-headed Naga on the façade of the Nassick chaitya (Woodcut No. 52), and its appearance in a similar position on the Chulakarma and Ananta caves at Udayagiri in Orissa. It points to an important feature in early Buddhist history, but not exactly what we are now looking for. Besides this the three, five, or seven-headed Naga occurs so frequently at Bharhut, Sanchi and elsewhere, that his presence here can hardly be called a distinctive peculiarity.

The next step after the introduction of four pillars to support the roof, as in cave No. 11 at Ajunta (Woodcut No. 74), was to introduce twelve pillars to support the roof, there being no intermediate number which would divide by four, and admit of an opening in the centre of every side. This arrangement is shown in the woodcut (No. 75), representing the plan of the cave No. 2 at Ajunta. Before this stage of cave architecture had been reached, the worship had degenerated considerably from its original purity; and these caves always possess a sanctuary containing an image of Buddha. There are frequently, besides this, as in the instance under consideration, two side chapels, like those in Catholic churches, containing images of subordinate saints, sometimes male, sometimes female.

The next and most extensive arrangement of these square monastery-caves is that in which twenty pillars are placed in the floor, so as to support the roof, six on each side, counting the corner pillars twice. There are several of these large caves at Ajunta and elsewhere; and one at Bagh, on the Tapty, represented in the last woodcut (No. 76), has, besides the ordinary complement, four additional pillars in the centre; these were introduced evidently in consequence of the rock not being sufficiently homogeneous and perfect to support itself without this additional precaution.

These—which might be classed, according to the terms used in Greek architecture, as astyle, when having no pillars; distyle, when with two pillars in each face; tetrastyle, with four; and hexastyle with six—form the leading and most characteristic division of these excavations, and with slight modification are to be found in all the modern series.

The forms, however, of many are so various and so abnormal, that it would require a far more extended classification to enable us to describe and include them all. In many instances the great depth of the cave which this square arrangement required was felt to be inconvenient; and a more oblong form was adopted, as in the Durbar cave at Salsette (Woodcut No. 77), where, besides, the sanctuary is projected forward, and assists, with the pillars, to support the roof. In some examples this is carried even further, and the sanctuary, standing boldly forward to the centre of the hall, forms in reality the only support. This, however, is a late arrangement, and must be considered more as an economical than an architectural improvement. Indeed by it the dignity and beauty of the whole composition are almost entirely destroyed.

Nassick Viharas.

The two most interesting series of caves for the investigation of the history of the later developments of the Vihara system, are those at Nassick and Ajunta. The latter is by far the most extensive, consisting of twenty-six first-class caves, four of which are chaityas. The latter group numbers, it is true, seventeen excavations, but only six or seven of these can be called first-class, and it possesses only one chaitya. The others are small excavations of no particular merit or interest. Ajunta has also the advantage of retaining the greater portion of the paintings which once adorned the walls of all viharas erected subsequently to the Christian Era, while these have almost entirely disappeared at Nassick, though there seems very little doubt that the walls of all the greater viharas there were once so ornamented. This indeed was one of the great distinctions between them and the earlier primitive cells of the monks before the Christian Era. The Buddhist church between Asoka and Kanishka was in the same position as that of Christianity between Constantine and Gregory the Great. It was the last-named pontiff who inaugurated the Middle Ages with all their pomp and ceremonial. It might, therefore, under certain circumstances be expedient to describe the Ajunta viharas first; but they are singularly deficient in well-preserved inscriptions containing recognisable names. Nassick, on the other hand, is peculiarly rich in this respect, and the history of the series can be made out with very tolerable approximative certainty.[179]

The only difficulty is at the beginning of the series. If the chaitya cave was, as above stated, commenced 129 years before Christ, there ought to have been a vihara of the same age attached to it, but such does not seem to exist. There is indeed a small vihara close to it, and on a lower level than those now on each side of it, and consequently more likely to be what we are looking for, than they are. It is a simple square hall measuring 14 ft. each way, with two square cells in three of its sides, the fourth opening on a verandah with two octagon pillars in front. The only ornament of the interior is a horseshoe arch over each opening, connected with a simple Buddhist rail. In every detail it is in fact identical with the two old viharas Nos. 12 and 11 Ajunta, and certainly anterior to the Christian Era; but it bears an inscription of Krishna Raja, and he seems almost certainly to be the second of the Andrabritya race, and he ascended the throne B.C. 8, or 120 years after the time we are looking for.[180] But for this the architectural details would accord perfectly with those of the chaitya, and the age ascribed to it; but the inscriptions may have been added afterwards. If this is not so, the only suggestion that occurs to me is that, as originally executed, the chaitya had a forecourt, and that the cells were in this, as at Bedsa and Sana, but that having fallen away, from some flaw in the rock, was entirely removed, and at a subsequent time that on the right was added at a height of 6 ft. above the level of the floor of the chaitya, that on the left at 12 ft., about the same datum,[181] which could hardly have been the case if they were part of the original conception.

Turning from these, which practically belong to the last chapter rather than to this, the interest is centred in three great viharas, the oldest of which bears the name of Nahapana (Woodcut No. 78), the second that of Gautamiputra, and the third that of Yadnya Sri—if my chronology is correct, their dates are thus fixed, in round numbers, as A.D. 100, 300, and 400.

The two principal viharas at Nassick, Nos. 3 and 8, are so similar in dimensions and in all their arrangements, that it is almost impossible to distinguish between their plans on paper. They are both square halls measuring more than 40 ft. each side, without any pillars in the centre, and are surrounded on three sides by sixteen cells of nearly the same dimensions. On the fourth side is a six-pillared verandah, in the one case with a cell at each end, in the other with only one cell, which is the most marked distinction between the two plans. The architecture, too, is in some respects so similar that we can hardly hesitate in assuming that the one is an intentional copy of the other. It is in fact the problem of the great cave at Kenheri, being a copy of that at Karli repeated here.[182] Only the difference in age between the two chaityas being five centuries, the degradation in style is greater than here, where it appears to be little more than two.

The pillars in the verandah of cave No. 8 (Woodcut No. 79, p. 150) are so similar to those in the great Karli chaitya, that if it should turn out, as Justice Newton[183] supposes, that Nahapana was the founder of the Samvat era, 56 B.C., there would be nothing in the architecture to contradict such a date. According to Mr. West, “the pillars are shorter in proportion, and the human figures more rudely designed;”[184] but whether to such an extent as to justify an interval of nearly two centuries is not quite clear. On the other hand no vihara I know of on this side of India has a facade so richly ornamented as this. Those at Bhaja and Bedsa are quite plain, and those around Karli, though richer, are far inferior to this, so that on the whole the architectural evidence tends strongly to a date subsequent to the Christian Era.

The inscription on this cave says, that it was excavated by Ushavadata, son-in-law of Nahapana, viceroy under King Kshaharatra,[185] evidently a foreigner, whose proper name has not yet been discovered, but for reasons given in the Appendix, there seems little doubt but that the Saka era (A.D. 78-9) dates from his coronation, and as some years must have elapsed before the son-in-law of the viceroy could have been in a position to undertake such a work as this, I presume A.D. 100 is not far from the date of the cave.

The pillars of the Gautamiputra cave No. 3 have, as will be seen from the last woodcut (No. 80), lost much of the elegance of those last described. Instead of the graceful bell-shaped Persian capitals, we have the pudding forms that afterwards became so prevalent. The shafts are straight posts, and have no bases, and the whole shows an inferiority not to be mistaken. The richly carved and sculptured doorway also belongs to a much more modern age. Besides this, there are three things here which prove almost incontestably that it belongs to the same age as the Amravati tope erected in the 4th century—the rail in front, already given (Woodcut No. 36), the pilaster at the end of the verandah,[186] and the bas-relief of a dagoba, which occupies the same position on the back wall in this cave that the man with the club occupies in No. 8. It has the same attendants, and the same superfluity of umbrellas, as are found there,[187] so that altogether the age of the excavation can hardly be considered doubtful.

Cave No. 12 is a small vihara, the central hall being 30 ft. by 23 ft., and with only four cells on one side. Considerable alterations have been attempted in its interior at some date long subsequent to its first excavation, to adapt it apparently to Hindu worship. Its verandah, however, consisting of two attached and two free-standing columns, is undoubtedly of the same age as the Nahapana cave No. 8. An inscription upon it states that it was excavated by Indragnidatta, prince regnant under Patamitraka of the northern region.[188] None of these names can be recognised, but they point to an age when foreign kings, possibly of the Punjab, ruled this country by satraps.

The great vihara beyond the chaitya cave, and 12 ft. above its level, is one of the most important of the series, not only from its size, but from its ordinance and date (Woodcut No. 81). The hall is 60 ft. in depth by 40 ft. wide at the outer end, increasing to 45 ft. at the inner, and with eight cells on either side. The most marked peculiarity, however, is that it has a regular sanctuary at its inner end, with two richly-carved pillars in front (Woodcut No. 82, p. 152), and within, a colossal figure of Buddha, seated, with flying and standing attendants, dwarpals, dwarfs, and all the usual accompaniments usually found in the fifth and subsequent centuries, but never, so far as I know, before.

Fortunately we have in this cave an inscription containing a well-known name. It is said to have been excavated by the wife of the commander-in-chief of the Emperor Yadnya Sri, Sat Karni, descendant of King Gautamiputra, in the seventh year.[189] We are not able to fix the exact year to which this date refers; probably it was only regnal, but it does not seem doubtful that this king reigned in the first quarter of the 5th century, and we consequently have in this cave a fixed point on which to base our calculations for the period about the time.

Beyond this there is still another excavation, No. 17—it can hardly be called a vihara—of very irregular shape, and covered with sculpture of a date at least a century more modern than that of the cave last described. Buddha is there represented in all his attitudes, standing or sitting, accompanied by chowrie bearers, flying figures, dwarfs, &c. On one side is a colossal recumbent figure of him attaining Nirvana, which is a sure sign of a very modern date. Besides these, there are Dyani Buddhas, Bodhisatwas, and all the modern pantheon of Buddhism, arranged in most admired confusion, as in all the most modern caves. There is no inscription, but from its sculpture and the form of its pillars we may safely ascribe it to the last age of Buddhist art, say about the year 600 or later. The pillars approximate closely in style to those found at Elephanta, and in the Brahmanical caves at Ellora, which from other evidence have been assigned to dates varying from 600 to 800 years of our era.

More has perhaps been said about the Nassick caves than their architectural importance would seem at first sight to justify, but they are one of the most important of the purely Buddhist groups, and they have hardly yet been alluded to in European books. Their great merit, however, is that they belong to one of the most important of the older Indian dynasties, known as the Andrabrityas, Sata Karnis, or Satavahanas. Being of purely Indian extraction, they, however, did not coin money like the Punjab dynasties, nor their contemporaries and rivals the Sah kings of Gujerat, who brought the art with them when they came as conquerors from the north-west, where they had learnt the art from the Greeks. This dynasty has, consequently, been overlooked by numismatists and others, and can only be rehabilitated by their inscriptions and their architectural work, on which these are found inscribed.

Ajunta Viharas.

As before mentioned, the central group of the four oldest caves at Ajunta forms the nucleus from which the caves radiate north and south—eight in one direction, and fourteen in the other. It seems, however, that there was a pause in the excavation of caves after the first great effort, and that they were then extended, for some time at least, in a southern direction. Thus caves Nos. 13 to 20 form a tolerably consecutive series, without any violent break. After that, or it may be contemporaneously with the last named, may be grouped Nos. 8, 7, and 6; and, lastly, Nos. 21 to 26 at one end of the series, and(Nos. 1 to 5 at the other, form the latest and most ornate group of the whole series.[190]

As above explained of the central four, three are certainly anterior to the Christian Era. One, No. 10, being transitional in some of its features, may belong to the 1st century, and be consequently contemporary with the gateways at Sanchi. After this first effort, however, came the pause just alluded to, for Nos. 13, 14, and 15, which are the only caves we can safely assign to the next three centuries, are comparatively insignificant, either in extent or in richness of detail.

Leaving these, we come to two viharas, Nos. 16 and 17, which are the most beautiful here, and, taken in conjunction with their paintings, probably the most interesting viharas in India.

No. 16 is a twenty-pillared cave, measuring about 65 ft. each way (Woodcut No. 83, p. 154), with sixteen cells and a regular sanctuary, in which is a figure of Buddha, seated, with his feet down. The general appearance of the interior may be judged of by the following woodcut (No. 84) in outline, but only a coloured representation in much

greater detail could give an idea of the richness of effect produced by its decoration. All the walls are covered with frescoes representing scenes from the life of Buddha, or from the legends of saints, and the roof and pillars by arabesques and ornaments, generally of great beauty of outline, heightened by the most harmonious colouring.

No. 17, which is very similar in plan, is generally known as the Zodiac cave, from the figure of a Buddhist chakra or wheel painted at one end of its verandah, which was mistaken by early visitors for a celestial emblem. The general effect of its architecture internally may be gathered from the above woodcut (No. 85) from a photograph, or from the next woodcut (No. 86) representing one of its pillars to a larger scale, from which the curiously wooden construction of the roof will be better observed than from the photograph. It is, in fact, the usual mode of forming flat or terraced roofs at the present day throughout India, and which consequently does not seem to have

varied from the 5th century at all events. As may be gathered from these illustrations the pillars in these caves are almost indefinitely varied, generally in pairs, but no pillars in any one cave are at all like those in any other. In each cave, however, there is a general harmony of design and of form, which prevents their variety from being unpleasing. The effect on the contrary is singularly harmonious and satisfactory. The great interest of these two caves lies, however, in their frescoes, which represent Buddhist legends on a scale and with a distinctness found nowhere else in India. The sculptures of Amravati—some of which may be contemporary, or only slightly earlier—are what most nearly approach them; but, as in most cases, painting admits of greater freedom and greater variety of incident than sculpture ever does, and certainly in this instance vindicates its claim to greater phonetic power. Many of the frets and architectural details painted on the roofs and pillars of these and in viharas are also of great elegance and appropriateness, and, when combined with the architecture, make up a whole unrivalled in India for its ethnographic as well as for its architectural beauty.

Fortunately the age of these two caves is not doubtful; there is a long inscription on each, much mutilated it must be confessed, but of which enough can be made out to show that they were excavated by kings of the Vindhyasacti race, one of whom, Pravarasena, whose name appears in the inscription on No. 16, married a daughter of Maharaja Deva, alias Chandra-gupta.[191] We have inscriptions of the last king dated 82 and 93 of the Gupta era, or in A.D. 400 and 411, and his son-in-law may probably have reigned a few years later. We may consequently safely place these two caves in the first half of the 5th century. They are thus slightly more modern than the Yadnya Sri cave, No. 15, at Nassick, which is exactly the result we would expect to arrive at from their architecture and the form of their sanctuaries.

Their great interest, therefore, from a historical point of view, consists in their being almost unique specimens of the architecture and arts of India during the great Gupta period, when Theodosius II. was emperor of the East, and at a time when Bahram Gaur, the Sassanian, is said to have visited India. He reigned 420 to 440; if he did visit India, it must have been while they were in course of being excavated.[192]

Nos. 18, 19, and 20 succeed this group, both in position and in style, and probably occupied the remaining half of the 5th century in construction, bringing down our history to about A.D. 500.

Before proceeding further in this direction, the cave-diggers seem to have turned back and excavated Nos. 8, 7, and 6. The last named is the only two-storeyed cave at Ajunta, and would be very interesting if it were not so fearfully ruined by damp and decay, owing to the faulty nature of the rock in which it is excavated. No. 7 has a singularly elegant verandah, broken by two projecting pavilions.[193] Internally, it is small, and occupied by a whole pantheon of Buddhas. It resembles, in fact, in almost every respect, No. 17 at Nassick, with which it is, no doubt, contemporary.

There still remain the five first caves at the northern end, and the six last at the southern: one of these is a chaitya, the other ten are viharas of greater or less dimensions. Some are only commenced, and two, Nos. 4 and 24, which were intended to have been the finest of the series, are left in a very incomplete state: interesting, however, as showing the whole process of an excavation from its commencement to its completion. Both these were intended to be 28-pillared caves, and the hall of No. 4 measures 84 ft. by 89 ft.

Caves Nos. 1 and 2 are among the most richly-sculptured of the caves. The façade, indeed, of No. 1 is the most elaborate and beautiful of its class at Ajunta, and with the corresponding caves at the opposite end conveys a higher idea of the perfection to which decorative sculpture had attained at that age than anything else at Ajunta. With the last chaitya, which belongs to this group, these caves carry our history down certainly into the 7th century. The work in the unfinished caves, I fancy, must have been arrested by the troubles which took place in Central India about the year 650, or shortly afterwards, when, I fancy, the persecution of the Buddhists commenced, and after which it is hardly probable that any community of that faith would have leisure or means to carry out any works, on such a scale at least, as these Ajunta viharas.

It is, of course, impossible, without a much greater amount of illustration than is compatible with the nature of this work, to convey to those who have not seen them any idea of the various points of interest found in these caves; but it is to be hoped that a complete series of illustrations of them may be one day given to the world. The materials for this nearly existed when the disastrous fire at the Crystal Palace, in 1860, destroyed Major Gill’s facsimiles of the paintings, which can hardly now be replaced.[194] A good deal, however, may be, and it is hoped will be, done, as they afford a complete series of examples of Buddhist art without any admixture from Hinduism, or any other religion extending from 200 years before Christ to 600 or 700 years after his era; and besides illustrating the arts and feelings of those ages, they form a chronometric scale by which to judge of, and synchronise other known series with which, however, they differ in several important particulars. For instance, at Ajunta there is no single example of those bell-shaped Persian capitals to pillars, with waterpot bases; nor is there any example of animals with riders crowning the capitals, such as are found at Bedsa, Karli, Nassick, Salsette, and elsewhere in the Ghâts. These differences seem to point to a western influence, Persian, Saka, or Scythian, or by whatever name we like to designate it, which did not penetrate so far inland as Ajunta or Ellora, but was confined to those regions where we know the foreign influence prevailed.

These, and many more ethnographic distinctions in architecture will, no doubt, be brought out by careful examination and comparisons, from which, when made, it can hardly be doubted that the most important results will be derived.

Bagh.

At a distance about 150 miles a little west of north from Ajunta, and thirty miles west of Mandu, near a little village of the name of Bagh, there exists a series of viharas only little less interesting than the later series at Ajunta. They are situated in a secluded ravine in the side of the range of hills that bounds the valley of the Nerbudda on the north, and were first visited or at least first described by Lieutenant Dangerfield, in the second volume of the ‘Transactions of the Literary Society of Bombay.’ They have since been described more in detail by Dr. Impey in the fifth volume of the ‘Journal Bombay Branch of the Royal Asiatic Society.’ Unfortunately the plates that were to accompany that paper were not published with it, but being deposited by the author in the library of the India Office, they are now before me, and from them and from this paper the principal details that follow have been gleaned.

The series consists of eight or nine viharas, some of them of the very first class, but no chaitya hall, nor does any excavation of that class seem ever to have been attempted here. On the other hand, the larger viharas seem to have had a shala or schoolroom attached to them, which may also have been employed for divine service. The fact, however, that the sanctuaries of the viharas generally have a dagoba in them, instead of an image of Buddha, points to a distinction which may hereafter prove of value. On the whole they are purer and simpler than the latest at Ajunta, though most probably of about the same age.

The plan of one has already been given, but it is neither so large nor architecturally so important as the great vihara, shown in plan, Woodcut No. 87. Its great hall is 96 ft. square, and would at Ajunta rank as a twenty-eight pillared cave, like No. 4 there, but inside this are eight pillars ranged octagonally; and at a later age, apparently in consequence of some failure of the roof, four structural pillars—shaded lighter—were introduced. It is not clear from Dr. Impey’s description how the central octagon was originally roofed. He seems to have believed that a dagoba originally stood in the centre, and having been destroyed brought down the roof with it. As, however, there is a dagoba in the sanctuary, this is hardly probable, and it seems much more likely that it was a copy of a structural octagonal dome, such as we find the Jains invariably employing a few centuries afterwards. If this is so, it would be highly interesting that it should be examined by some architect capable of restoring it constructively from such indications as remain. We have hundreds, almost thousands, of these domes supported on eight pillars after the revival in the 10th century, but not one before. If this is one, it might help to restore a missing link in our chain of evidence.