III. State Barge.-A large vessel floating in the

midst of the ocean. The prow formed of a winged griffin; and the stern of a dolphin's tail, raised very high out of the water, with a garland hanging from it. In the middle a stately canopy supported on pillars, and ornamented both above and below with the Buddhist railing. Beneath the canopy there is an empty throne, or state morha, over which one attendant is holding the state chatta and another a chaori. A third figure is steering the boat. The water is filled with lotus flowers. Five figures are swimming about, supported either on planks or on inflated skins; and a sixth figure is stretching out both arms towards the steersman, apparently for assistance to get into the boat.

It is difficult to say what this scene represents. Captain Fell* described it as a shipwreck. "The vessel," he says, "is on an open sea in the midst of a tempest; near it are figures swimming, and endeavouring, by seizing piles, &c., to save themselves from sinking. One on the point of drowning is making an expiring effort to ascend the side. The features of all betray their melancholy situation." But this description is far from accurate, for the figures in the water have their backs turned to the vessel, and seem to be floating about quite at their ease. In fact, the whole scene looks more like a

Prinsep's Journal, iii. 491.

bathing party than anything else. I presume, however, that it has a religious meaning, and that it is typical of life; for for " our terrestrial globe rests upon the waters like a boat," according to the Buddhists. The empty throne may, perhaps, denote Sákya's attainment of Buddhahood, and his final emancipation from this life. But I do not see how this explanation will suit the swimming figures. If I could find any authority for it, I should prefer the following explanation. The waters represent the ocean of life in which mankind are for ever struggling, and the empty throne is that of a Buddha, the Chakravarti, or Supreme King, who, by the suppression of all mortal desires, and by the continued practice of abstract contemplation, has freed himself from the trammels of this mortal coil. The figure struggling to get into the boat is, perhaps, a Bodhisatwa, or one who has nearly attained Buddhahood.

WESTERN GATE.

ARCHITRAVES.-FRONT FACES.

I. Procession escorting a Relic Casket.— Upper.— Street of a city to the left; houses on each side filled with spectators, some leaning on their elbows, and others hanging their arms over the window-sill. In the street a few horsemen heading a procession. Behind them the city-gate,

and walls surmounted with battlements. Imme-
diately outside the gate are four persons bearing
either trophies or some peculiar instruments of
office. Then follow a led horse, passing a tree,
a soldier, with bell-shaped shield, two fifers, three
drummers, and two men blowing conches. Next
comes the king on an elephant, carrying the
holy relic-casket on his head, and supporting it
with his right hand. Then follow two peculiarly
dressed men on horseback,
on horseback, perhaps prisoners.
They wear a kind of cap (now only known in
Barmáwar, on the upper course of the Rávi),
and boots or leggings. The procession is closed
by two horsemen (one either the minister or a
member of the royal family), and by an elephant
with two riders.

This scene is best illustrated by the account of a relic procession recorded in the Mahawanso.* Dutthagámini, Rajah of Ceylon, having prepared a golden casket for the enshrinement of some relics brought by the holy monk Sónuttaro, marched in "procession" to the Tope, with the casket "on the crown of his head;" and having deposited the relics therein, placed them on the throne. Afterwards "the monarch, attended by Dévas and men, and bearing on his head the casket containing the relics, making presentations of offerings thereto, and surrounded by the bhikshus, marched in procession round the Tope, and then

* Mahawanso, p. 190.

ascending it on the eastern side he descended into the relic-chamber."

II. Worship of Symbol of Buddha.—Middle.-A wheel on an altar; winged Kinnaras hovering over it with garlands in their hands. Royal personages with uplifted hands joined in adoration. Elks and antelopes.

III. Worship of Tree by Elephants.-Lower.-Adoration of Banian-tree by elephants carrying garlands, flowers, chatta, and chaori. Two elephants crossing a stream towards a Tope.

The story represented in this scene is the same as that which has already been described on the rear face of the lower architrave of the Eastern Gateway.

WESTERN GATE.

ARCHITRAVE-REAR FACES.

I. Worship of Topes.-Upper.-Adoration of Topes, by numerous figures.

II. Triumphal Procession. -Middle. - Procession entering a city gate. Trophy bearers and musicians leading foot soldiers with long shields; one horseman and three elephant riders. Chariot bearing the Raja and two attendants, followed by two horsemen and two elephant riders.

III. Temple Worship.—Lower.—Temple. To left

several figures with uplifted hands in adoration. To right, giants.

NORTHERN GATEWAY.

RIGHT PILLAR-FRONT FACE.

I. Tree, with Staircase. A long staircase with Buddhist railing on each side. Tree above, and several royal personages with hands joined in adoration.

RIGHT PILLAR-INNER FACE.

I. Worship of Tope.-Tope enclosed by Buddhist railing, and with an entrance gateway, surmounted by two architraves, similar to those of the gateways of the Sánchi Tope itself.* A second Buddhist railing which is represented round the side of the Tope, may probably be intended for the railing of the terrace or upper surface of the plinth. The Tope is surmounted by three chattas, emblematic of Buddha. Three figures, with garlands in hand, are perambulating the Tope inside the enclosure. Outside, one figure is carrying a relic-casket, and a second bearing a standard surmounted by the symbol or monogram of Dharma. Kinnaras hover above the Tope with garlands. Two figures bear offerings in shields; two are blowing long horns; one is

* This gateway misled Captain Fell, who supposed it to be an entrance into the Tope itself.