The answer is simple and conclusive. During the operation of cutting, the stone split longitudinally from top to bottom, and was no longer of any use. The same cause preserved the upper portion of the southern pillar. I presume therefore that the shaft of the northern pillar did not split, and that it was long ago carried away and formed into sugar-mills. It is right, however, to add that I made inquiries for sugar-mills in the neighbourhood without success: although the ignorance of the people by no means proves their non-existence.

35. Close to the eastern gateway there is a third pillar with a shaft 13 feet high, and rather more than one foot in diameter. Its capital is bell-shaped, like those of the others; and it is crowned by a single seated lion.

36. To the north-east of the Tope also there are two small broken pillars, of which one bears an incomplete inscription in characters of the early Gupta period, about 400 A. D. This inscription is given in Plate XXI. No. 199. It reads, "** di HariswámiGosha Sinha Baliputra *" that is, "HARISWAMI GOSHA the son of SINHABALI."* This Hariswami probably belonged to the same family as the Hariswámini before mentioned, who was the donor of lamps to the shrines of the four Buddhas.

*

37. At the north-west angle of the court, a flight of steps formerly led down the hill towards No. 2 Tope. Due north there is a ruined flight of steps

*This inscription had escaped the notice of previous visitors.

leading past No. 8 Tope into the road towards the village of Sánchi. At the head of these steps there are two colossal figures, probably of porters or gatekeepers. On the outside of the western wall, and about 20 feet below the level of the court, there is a long, dry tank cut out of the solid rock. Below this there are the ruins of a large oblong building, probably a Vihár, or monastery. Below this again are the circular bases of Topes Nos. 9 and 10, and the stone bowl which has already been described. From this point there is a ruined but well-defined flight of steps leading to No. 2 Tope.*

* See Plate IV. of this volume for all these ruins.

CHAPTER XV.

DESCRIPTION OF THE SÁNCHI BAS-RELIEFS.

THE bas-reliefs are carved upon the front and rear faces of the architraves, and upon the front and inner faces of the gateway pillars. The outer faces of the pillars are ornamented with flowers, garlands, and other devices, which need not be detailed. I will begin with the pillar of the eastern gate, and follow in my description the course of the sun round by the south, and west towards the north. The bas-reliefs on the pillars are divided into compartments, which I have numbered from top to bottom. The lowest compartments of the inner faces of all the pillars are occupied by large figures of porters or doorkeepers, some with spears, some with chaoris, &c.*

EASTERN GATEWAY.

RIGHT PILLAR-FRONT FACE.

I. Palace Scene.-Audience Hall.-Upper apartment of palace. Two royal personages seated with several attendants.

* A very correct view of the Eastern Gateway will be found in Fergusson's Illustrations of Ancient Indian Architecture: Frontispiece.

II. Palace Scene.- Women dancing before the king. Raja seated on a morha, or throne, in the palacehall, holding the vajra, or thunderbolt, in his right hand, and in his left a gourd. Two attendants behind him hold the chatta and chaori, both being insignia of royalty. On his right is seated either the heir-apparent or the prime minister, attended by two chaori and chatta bearers. On the king's left are two Nachnis, or dancing women, who are dancing to the sound of two sárangis (or lutes) and two drums. III. IV. and V. are the same repeated.

The whole of this front of the pillar represents a six-storied palace. Each story is supported on a front of four octagonal pillars, with bell-shaped capitals surmounted by recumbent winged horses.

RIGHT PILLAR-INNER FACE.

I. Adoration of tree.-Royal figures paying their adorations to a tree.

II. Dream of Maya.-MAYA, the mother of Buddha,

represented asleep, and the Chádanta elephant touching her feet with his trunk. Below her the Prince Siddhartha is passing through the city gate of Kapila in a chariot drawn by two horses. He is preceded by musicians, and attended by elephant riders and horsemen. The rear of the procession is inside the city. In front are three figures with joined hands adoring

a holy Bo-tree enclosed in a square Buddhist railing.

This second compartment is one of the most interesting bas-reliefs at Sánchi. The upper portion represents the dream of Maya the Queen of Suddhodana, Raja of Kapila. She dreamed that she was touched by a Chádanta elephant, which the wise men interpreted as a divine conception. It thus represents the incarnation of the last mortal Buddha, Sákya Sinha.

The lower portion represents the last act in the life of the Prince Siddhartha, before he took the Vows of asceticism. It is in fact the last of the "four predictive signs."* On emerging from the city in his chariot, Sákya saw some healthy, wellclad persons wearing the peculiar robe of those dedicated to religion. These are the three ascetics paying their adoration to the Bo-tree.

EASTERN GATE.

LEFT PILLAR-FRONT FACE.

I. Adoration of Symbol of Dharma.-Temple containing the symbol or monogram of Dharma on an altar; over which some fabulous Kinnaras are waving garlands and making offerings. On each side of the temple are two royal or lay

* See the account of the four predictive signs in the second chapter of this work.