Tope; but the Tope is finished, and the whole of the figures are ascetics. It is possible that they may be preparing small huts for their own residence similar to that shown in the last bas-relief. The neighbourhood of the Tope makes this supposition highly probable, as it was the usual custom of the Buddhist hermits. to congregate around their Topes. The chaitya in this scene is evidently dedicated to the Supreme Buddha, as I have explained in my account of the last bas-relief.

EASTERN GATE.

ARCHITRAVES-FRONT.

I. Worship of Topes. - Upper.Numerous figures paying their adoration to Topes.

II. Procession of Buddha's Feet.-Middle.-To the left a city gate into which a procession is entering. In the centre a sacred tree, and to the right a chariot behind which are the holy impressions of Buddha's feet.

III. Worship of Tree.-Lower.-Procession advanc

ing to the worship of a tree in a small Temple.

ARCHITRAVES-REAR.

I. Worship of Trees.-Upper.-Numerous figures

paying their adoration to trees.

II. Worship of Trees by Animals.

Middle.

Various animals, such as Rams, Buffaloes, Lions,

Vultures, and others not identified, together with the Nága Raja, or King of the Snakes, are all paying their adoration to a tree.

III. Worship of Tope by Elephants. - Lower. — Several Elephants are perambulating a Tope with garlands.

This scene, I think, represents a tradition preserved by Fa Hian relative to the Tope at LAN-MO, or Rámagráma.* "In this sterile and solitary place there are no men to sweep and to water; but you may there see continually herds of elephants which take water in their trunks to water the ground, and which, collecting all sorts of flowers and perfumes, perform the service of the tower. There were TAOSSE (Rationalists) from various countries who had come to perform their devotions at this tower. They met the elephants, and overcome with terror, concealed themselves among the trees, whence they witnessed the elephants performing the duty according to the law. The TAO-SSE were greatly affected to observe how, though there was no one to attend to the service of the tower, it was nevertheless kept watered and swept. The TAO-SSE thereupon abandoned their grand precepts, and returning became Shámi. Of themselves they plucked up the grass and the trees, levelled the ground, and kept the place neat and clean. They exerted themselves to convert the king, and induce him to found an establishment of eccle

• Fo-kwe-ki, c. xxxiii. Laidlay's Translation.

siastics, as well as to erect a temple. There is at present a habitation of ecclesiastics. This happened not long ago, and tradition has transmitted it to the present time." The expression " not long ago" must mean three or four centuries, otherwise the story could scarcely be said to have been transmitted by tradition. At any rate the story illustrated the basrelief; and proves that there was a belief prevalent at that period that elephants had somewhere paid their devotions to a Tope. See the description of the lower architrave, Western Gateway, front face.

SOUTH GATEWAY.

RIGHT PILLAR-FRONT FACE.

I. Triple Symbol of Dharma.-A temple supported on pillars, and containing an altar on which

are placed three symbols or monograms of Dharma.*

II. Scene in Palace. - King seated with his two wives. Four other females, two seated (wives of less rank), and two standing (attendants). III. Casket Scene in Palace.-The king with his family and ministers seated in the foreground to the left. In the centre a relic-casket, with two attendants holding the chatta and chaori over it. To the left, a seated female beating a drum, and a female dancer naked to the waist with her arms stretched before her in a peculiar

• See Plate XXXII., fig. 22.

To the

manner, still practised in India. In the back ground two male figures, and one female figure with a round cap similar to those worn by the Kashmiri women of the present day. right numerous figures, all standing. Two in the foreground with hands joined in adoration appear to be the Raja and his ministers. They are naked to the waist; but are literally covered with necklaces, armlets, and bracelets.* I. Worship of Topes.-Upper.-Three Topes, the middle one bearing the inscription No. 190, with the name of SRI SATAKARNI. On each of the bosses of this architrave, immediately over the pillars, are two men riding oxen. The oxen are regularly caparisoned for riding. The nosestring is passed through the nostrils, and twisted together to avoid the eyes; the ends are then passed outside the horns, where they are secured from slipping by a head-band. Of the figures on the right boss, one carries a lotus, and the other a relic-box. Those of the left boss both carry trays containing some indescribable object. Between this boss and the end volute a led horse is represented passing through a temple gateway of two architraves. The horse is attended by two figures, one carrying a chaori, and the other a vessel exactly resembling a tea-pot.

II. Worship of Tope.-Middle.-A Tope with in

See Plate XII. of this volume.

scription in two lines (No. 191). Kinnaras with garlands. King in a chariot with driver and chaori-bearer, attended by elephant riders.

III. A siege and Relic Procession. - Lower.-A part of this interesting scene has been made. known by James Prinsep; but the architrave is broken, and the portion to the right of the boss, which has not been published, seems to complete the story, although it forms a different compartment. The scene in the middle of the architrave represents a besieged city. The battlements, the city gate, and the upper stories of the houses, are filled with defenders, who are shooting arrows and hurling stones upon the assailants below. The attack is carried on with arrows only; but as several of the besiegers are covered with long shields, they were no doubt furnished with swords. One horseman and several elephant riders appear on the left, with two standard-bearers.

To the right of the boss, the king appears in his chariot, attending an elephant, which bears a relic-box on its head, covered by the honorary chatta.

The siege represented in this scene was probably undertaken for the purpose of gaining possession of some holy relic, which the king is carrying off to the right. The dresses of the soldiers are remarkable,

* Prinsep's Journal, vol. vi., Pl. XXIX.