Cave I. is the finest vihara of its kind, and the most handsomely ornamented at Ajanta. It is also one of the most modern, having probably been commenced in the beginning of the 7th century. Its facade is the only instance here of a vihara decorated with sculpture. A porch in front of the verandah was supported by two advanced columns, but only fragments of the bases and the elegant capitals remain. There is a room at each end outside the verandah, with open front supported by two pillars; and the floors are raised a few steps, in order that the elaborate entablature of the facade may be carried round the whole front at the same level. The room on the east opens into a chamber nearly 13 feet 6 inches square, and that on the left opens into two others somewhat smaller. There are six columns and two pilasters in the verandah; and the pair in the middle, like the others, have square bases and elaborately carved bracket capitals, but above the bases they are at first octagonal, then change into a belt of sixteen faces each, and then become fluted and have bands of beautifully elaborate tracery up to the thick compressed cushion between two fillets, on which rests the carved fascia under the capital. The change from square to octagon is broken by four little dwarfs, which reappear on the capital for the same purpose. The next pillars on either side are similarly rich in carving, but they have spiral flutes with narrower bands of tracery round the upper portion. The two outside pillars are octagonal, have three bands of tracery round them, and support a very deep square carved fascia under the bracket capital. The pilasters beyond have short fluted necks with tracery above and below them; and the central compartment in each capital has a group of human figures. The wings of the brackets of the columns are ornamented with gandharvas and apsarasas; and the central panels with figures of Buddha and his worshippers. The ornament on the sixth pillar appears to be a version of the temptation of Mara. On Buddha’s left are two women. On his right are two scenes representing the attempts made on his life by his brother-in-law Devadatta,-the first being that of a man shooting at Sakyamuni with a bow, and the second of a person in a peaked cap throwing a stone at him. Above each column in the architrave, all along the front, is a compartment containing human figures; the corners appear intended for sardulas; and the remaining spaces are filled principally with elephants in every variety of attitude. The lower frieze over the front of the porch seems to have been filled with groups of figures; and the left side has an elephant fighting, and a rider on a sardula at the corners. Along the facade to the left, beyond the corner sardula, are two figures beating drums, and another playing on a kind of flute. These are followed by figures with Nepalese swords and oblong shields; then by three figures on horseback, one blowing a trumpet; then three elephants with their riders; and then another horseman. The figures to the right consist of a raja and his wife, in earnest conversation with three attendants. A saddled horse outside is led out towards a tree; and to the left, a little figure carries a bag on his back towards two figures sitting and talking under foliage with birds in it Beyond these, a male elephant stands facing a man sitting at the foot of a tree with a stick in his hand; and then a wife has her arms round her husband’s neck, and two female servants stand by. Four elephants are outside, one butting against a tree, a young elephant following its dam which is pinning a tiger to the ground, and the fourth elephant behind the young one. Next are two buffaloes fighting, with a man behind each urging them on. To the left are two human figures in front of the corner sardula; and the band is carried across the front to the left side chapel. To the left of the sardula are a woman, a man with a stick or sword, another with a shield, a figure sitting on the ground, a Buddha in his chariot with two horses, and a driver coming towards them. Next is a royal figure in a garden under a tree, with a woman playing on a musical instrument to him, and another behind waiting on him. A palm tree comes next, and then Buddha is driving to the left, and passes a plantain tree where he meets an aged man with a staff. Behind is Buddha again in his car; and just before are some men carrying a dead body, and a woman weeping close by. To the left is a royal figure seated on an-asana, with attendants, and a horse looking at him; beyond is a man walking out; and next is a horse with an attendant by the side of it. The succeeding sculpture when entire, represented the four predictive signs which led to Siddhartha’s escape and His becoming an ascetic. On the right side of the porch is a hunt of the wild ox; and on the front of the facade to the right is another hunting scene, in which a horseman on the left is spearing perhaps a deer, and a dog or cheeta runs by the side of a second horseman. Behind are three elephants with riders, followed by a fat man, bearing a load at the ends of a pole carried on his shoulder. In the succeeding compartment is a stout figure with a cap in his hand, seated and caressed by his wife; and behind her stands a servant with a flagon. To the right is an elephant with a man sitting before it; and another man stands beyond with a staff in his left hand. A woman proceeds to the right with a vessel, towards a man who sits under a tree and addresses another woman, who kneels before him in an attitude of supplication. Behind her are a dwarf with a hag on his back, and a man leading a saddled horse, followed by a second man holding an umbrella. A small compartment to the right has a raja and his wife seated together, attended by two female servants. The next compartment has six wild elephants,- the first and second are fighting, and the third is dragging a huge snake in its trunk; then comes a sardula. Over the right side chapel, after the sardula, are a group of cattle and two seated figures. The head of a bearded man is seen beyond, and two more men with beards and the hair of their head done up as among devotees, are under trees, while a third head is seen behind them. One man has a bottle, and by the side of the other is a vessel hung on a tripod stand, which is represented in front of the dying Buddha in Cave XXVI. Another bearded ascetic is going away, and has a club in one hand and a bent rod over his left shoulder. He meets a man who seems to address him; while another, with an uplighted sword, is about to strike this second individual. To the right are a plantain tree and a saddled horse led by a man. In the second compartment, a man sits listening to a lady, attended by two female servants. The last compartment had a kneeling figure offering some present to a portly man seated. Above the entablature is a projecting band carved with chaitya windows, each containing a human head; and a succeeding frieze has compartments containing human pairs attended by female servants. These are separated by figures of the sacred goose, with wings extended into elaborate floriated tracery, so as to fill the spaces. Above are a line of tigers, a dentilated fillet, and another fillet with a line of string tracery surmounted by a belt, containing chaitya windows with human heads inside each having on a heavy wig. The verandah is 64 feet by 9 feet 3 inches by 13 feet 6 inches, and has a chamber at each end, and a wide door in the centre, with elaborately carved jambs and entablatures, leading into the great hall. Inside the next opening is a band of jewel ornament A projecting member above is carved with the usual sculptured groups, first a single figure, above that five pairs of males and females standing in various attitudes, and on the lintel, five more figures sitting, some of them playing on various musical instruments. On the outer edge are the usual pilasters supporting two female figures standing on the heads of makaras. Each figure stands under a tree that on the left is the asoka, and that on the right, the mango tree. There are smaller doors at each end, and two windows. The side doors are the only ones of their kind at Ajanta that have any carving round them. The great hall is 64 feet square, supported by a colonnade of twenty pillars; and the aisles are 9 feet 6 inches wide all round. The bases of the columns are 2 feet 9 inches square; and the four pilasters, in continuation of the front and back row, are most richly carved. The front of the brackets in the front row, and the inner sides of all the rest have been sculptured; while the inner side of the front row, and the brackets that face the side and back aisles, have been painted with similar figures. The wings of the brackets are much alike; and the two central and the two corner pillars among those facing the front aisle have sardulas with riders. The other two pillars have elephants with two riders on each of the wings that face the inner area of-the hall. The two central pillars on each side have an apsarasa and a gandharva, and the others have a human figure coming out of the mouth of a makara, but the first column on the left side has two fat figures on each wing, and the fourth has vidyadharas. In the central panels, the two middle pillars in the front row have figures worshipping a dagoba; the pair next to these have small fat figures (in one case carrying a load), under an arch thrown up between the mouths of two makaras; and the corner pair have Buddha seated between two chauri-bearers. In the middle area, the two central columns on the right have four deer with one head between them; and the panels of the brackets contain elephants fighting. The left central pillar has a raja on the left, with his wife, child, diwan, two chamara-bearers, and an attendant; and on the right are two seated rajas and attendants. The first pillar on the left row has a fat eight-armed dwarf, attended by two others, one of them probably a Naga; and the fourth pillar has two Naga rajas worshipping a dagoba. In the back row, the two central columns have Naga figures with Naga-kanyas (maidens) worshipping richly decorated dagobas; the first pillar to the left has a half-human figure on either side of a lotus flower; and on the fourth pillar are two deer, with the wheel between them. The back row of pillars have makaras above the base; the upper part of the shaft has a deep belt of the most elaborate tracery, in which are wrought medallions with human figures; and the fascia is supported at the corners by dwarfs. A makara and a dwarf are on the left side, at the corners of the base; and the eight facets round the upper part of the columns have pairs of rampant antelopes, bridled by garlands held in the mouths of grinning faces between each pair. Strings of beads are a marked feature in the ornamentation,-a row with pendants surrounding each shield, another in festoons surrounding the pillar just below them, and a triple row festooned round the bottom of the sixteen-sided portion of the shaft. The corner pillars are not so richly ornamented, and have three brackets each. On the capital is Buddha in the meditative attitude, with a chauri-bearer on each side; and on the wings are sardulas one of them with a rider. Two sections of the shaft are carved in shallow flutes twisting round in opposite directions. On either side of the cave are five cells for monks; and on the back are four cells, two on each side of the shrine. There are two pillars in the middle of the back wall, with brackets of human figures; and between them is the entrance to the antechamber, which is 10 feet by 9 feet. The shrine is ’20 feet square, and contains a colossal. Buddha, attended by an Indra on each side, wearing the hair in curls, and with rich headdresses; the one on the left has the vajra or thunderbolt in his left hand. The wheel in front of the throne is placed edgewise between two deer; and behind the latter are three worshippers on Buddha’s left, and five on his right. The shrine door is most elaborately carved,-at the bottom, on each side is a dvarapala, overshadowed by the five-hooded snake; above are four compartments with a male and female figure in each; and beyond are two figures on pillars, representing the Ganges and Jumna. The sculptured figures are even surpassed by the sculptured foliage with which they are interwoven. The whole of the cave has been painted, but the drawings near the floor have entirely disappeared. [In the paintings at the left end of the front aisle, a band above the cell-door, about eight inches deep, divided the upper scene from those on each side; but the sides now contain only two female heads on the right, on arm, and a part of a red-skinned figure.

In the scene above the door is a palace, near the centre of which is a Naga chief seated under a canopy on a blue cushion; his head is overshadowed by a five-hooded snake, and his wife has a single snake-hood over her, and is dressed in a garment having a richly flowered border. The chief holds some green object in his right hand, and his left rest on his wife's shoulder. A maid servant in blue with many plain bracelets, chafes her mistress's feet; and a red-skinned maid, on the lady's left, holds a fan. A fair-skinned maid in a close fitting dress of a flowered pattern, and with her hair bound in a white napkin, stoops towards her master sad mistress, holding perhaps chopsticks in her right hand, and carrying a vessel in her left. Behind her is a dark red-skinned woman; and another looks round at a person who enters on the right, with a cloth over his head, and dressed in a blue, grey, or' gold garment, which covers his whole person, and is ornamented with scrolls, stars, swans, awl oxen. A woman to his rear leans against pillar, and looks at him while: clashing a pair of cymbals. Beyond is a man looking up. and playing on a stringed instrument. The women have their hair dressed in a varied and fanciful manner, and some hold their curly locks in their hands.

A women servant sits at the chiefs right hand; and another stands to the back of the chief with a fly-flap. A rather stout old man with a bald head enters from the left; and behind him is a person going up a ladder or the stair of a building. Outside to the right of the palace, a fair face looks round a pillar; and a back view of a richly jewelled lady appears above, looking over her right shoulder and holding a wand in her left hand. Some fragments occur, and at the right corner is a lady of rank, high jewelled, resting her elbow on a pillow, and looking out to the left. Behind her is a sofa or a dress of a maid servant. The polychromatic decoration of the architecture is fairly represented; the general colour of the wall is green, divided by horizontal band in red, filled in with scroll and leaf ornament in gray. The bands have a border on either side of the fillet and head ornament. The shafts of the pillars are divided by ornamental bands into three divisions, the upper and lower being coloured, as if to represent marble or granite, while the middle is mottled. The ceiling is blue, and so are some of the long bottle-shaped caps, upon which are placed cushion-shaped members, coloured like the upper and lower divisions of the shafts. Immediately behind the chief is a partly open door. The way of wearing the waist-cloth, and the decoration of the material, running in horizontal bands, resemble a similar robe worn in Nepal and Barma at the present day.

On the right, of the pilaster adjoining the last, is Buddha seated in the upper left corner of a mountain cave; and before him, a chief on a cushion makes obeisance; while behind the latter are his wife and a red-skinned attendant. Is front of the lady on the chief's left, is a dwarf in a short striped kirtle, bringing forward a green box; and a woman sits between the chief and Buddha, holding her hand to her hair. A red man to the right of the group seems to hold a great snake, and six oxen are before him. Seven men further to the right pull a cord fastened to the snake's mouth, and two others stand beside them. A man below the chief holds something in his hand; and to his left a Naga chief, overshadowed by a seven-hooded snake, loads a man to the edge of a pool.

Above the lintels between the first and second cell-doors, a chief and his wife sit in a palace, and have two servants before them. To the rear of the lady is a maid with a fly-flap; behind the chief is a red-skinned maid; and another of lighter colour, brings in a vessel with flowers. In the verandah are three women to the right; and under a booth is a draped dancing woman. Two women on the left of the latter play on Antes; awl one on the other side plays on two large standing drums. Two women have small cymbals; one stands behind looking on, and two are seated in front, one with a guitar and the other with a long drum. To the right is a gateway, out of which the chief passes on a light-coloured elephant, preceded by the minister and the heir-apparent on horseback, the latter with an umbrella borne over him. A green and a prancing chestnut horse appears in the crowd. The soldiers of the retinue have long blue Nepalese swords; and one soldier has a shield, another has a spear, and three others carry standards with oval discs at the top of the shafts. The procession seems to turn to its left, and then to the right, where a devotee sits with a blue band across his knees for support, and holds a rosary in his hand. The horses and elephant-the latter covered with a tiger skin, stand on the extreme right of the picture; the chief and his retinue appear dismounted before the devotee, and two laics with joined hands are also before him. Below the palace is an inner chamber, in which a woman has several dishes beside her, and rolls out some-thing on a flat stone. To the light, another woman is raising her right hand, while in her left she holds a vessel. Still to the right is a third woman; and below are three soldiers, one with a Nepalese sword, another with a bow and quiver, and the third with a spear. On the right side of the cell-door is a striped conical object.

On the left hand side of the scene, between the third cell-door and the back pilaster, is a chief seated in his palace; and on another seat to his front, is his wife, richly jewelled and wearing a striped robe, talking earnestly with him. Behind to the left, is a very fair woman; to the back of her is a reddish woman, and both have fly-flaps. In front of these, a lady with jewels and a kirtle, talks to another lady, and a servant is beside them. Another servant sits at the chief's right foot; and beyond the lady, a fair woman with lemon-shaped eyes, stands with a fan over her shoulder; a second woman listens, looking round the back of the lady's seat, and a third stares and grasps the cushion. Behind to the right, a fourth woman listens to a fifth coming in at the door, who by the motions of her hands, seems to convey some startling intelligence. Outside the door, the chief with the umbrella borne over him goes out on horseback, and is accompanied by his minister and retinue. To the right is the sea-shore, and those who have reached it, point to the water and look back. Two boats are on the sea; the people in the first boat are at their ease, and a chief sits near the stern under an umbrella; but the second is shipwrecked, for the water with fishes, &c. in it is flowing across the boat, and shells are shown below. One man in the water looks terrified; and another in the boat, raises his hands in despair. On the extreme right beyond the sea, are two men walking behind some plantain trees ; and lower down is a man seated and receiving some present from another. Lower again is a Naga chief sitting in an interior, and four people are by the side of him. Outside is a man as if in deep grief, appealing to another, and behind him a demon appears to be destroying a figure. Between the third and fourth doors is the top of a large car with four people inside, one of whom On the right has a rich tiara. Outside is a fly-flap bearer and two others with curly hair, one of them wearing a high tiara; then four more heads are seen, two of women, of which one is very fair. Still to the right are two women gazing in opposite directions, and one of them holds an umbrella over her mistress, who looks down towards two smaller heads below.

At the left end of the back wall, a chief is seated in his palace on a square lion-throne with a high carved back. He is being anointed; and a green woman presents him a dish of flowers. At the back of the woman stand a fly-flap bearer and another figure; while two men behind, with white cloths round their hair, pour the oil upon the chief from large round vases. In another part of the palace to the left, a man with his hair in white cloth, and wearing a striped waist-cloth, brings in a large water-pot on his shoulder; and another in front of him, with a white-sleeved jacket and short red and white drawers, leans upon a stick looking towards the chief. A green woman behind the pillar separating the apartments, waves the fly-flap over the chief. Four beggars outside stretch out their hands for alms,-one has an umbrella, and another wears the top-knot head-dress. Beyond them are plantain trees. A devotee sits in a building to the left, with the alms-bowl in his lap; and above him are some earthenware vessels in a niche in the wall. In another apartment to the left, are four women wearing jewels, and dressed in transparent robes. One kneels, as if making some mark on the ground,' and another holds a basin with some offering for the devotee. Below the first part of this scene is an interior, in which a man, followed by a woman, presents four human heads in a salver to a devotee who seems to refuse them; and to the right the devotee is shown going away. Other people are depicted as spectators; and at the left end of the wall, four women and one man look out from four windows on some sight below.

To the right of the last picture, and between it and the antechamber, is a mountain scene, with a tall central painting of perhaps Shakra or Indra. The figure is somewhat fair, and has a high jewelled tiara, a blue water lily in the right hand, a striped waist-cloth round the loins, and a Brahmanical cord made of strings of pearls over his left shoulder. On Indra's left stands his consort Shachi, much darker than himself, wearing a high crown and a similar waist-cloth, and holding a flower in her right hand. Between them, a figure holding the fly-flap stands to the rear in close-fitting blue clothes and high crown, but not so richly jewelled. Two figures are near Indra's right leg, the first apparently of a woman; and behind them is a mace-bearer. Above Indra's left shoulder are a bird, and a monkey climbing up the rocks. Two larger birds of blue colour are higher still; and a cherub behind them, among the foliage, seems to be pouring something into a cup, while a second cherub leans on his right shoulder. A monkey on the other side approaches a pair of cave-dwellers seated on a rock; behind them are a pair of kinnaras, the male playing on a guitar, and the female on small cymbals; and a cloud is to the back of them. Two figures are seated below, a lady in a transparent robe and her husband looking over her shoulder. Behind are monkeys climbing rocks; and above are angels with long straight swords and small shields, floating on clouds. High in the extreme left is a painted lion.

On the left end of the antechamber is the representation of Sakyamuni, beset by the emissaries of the god Mara. Sakyamuni with folded limbs, but with the right arm stretched out, is in the centre, seated on a raised green dais. He wears the devotee's robe, and a glory appears behind his head, above which is perhaps the foliage of the Bodhi tree. On Sakyamuni's left is probably the daughter of Mara, half-leaning against the dais, and resting her left hand upon it, while the right is held out as she addresses him. Behind her is a long curly-haired warrior in a striped waist-cloth, and a loosely flying cloak tied round his neck. A long straight sword is in his right hand, and the left arm is stretched at full length, with the hand bent at right angles, as if warning Sakyamuni. Above this is a demon, with the little finger of each hand thrust into the corners of the mouth, and the other fingers drawing down the eyelids. An owl is perched on its head, and a small blue bell is in the ear. Behind this is a tiger ridden by a figure dressed in a blue chequered cloth; and next to it is a green figure with a horse's head, holding a club in the right hand. A little behind is Kali, a thin gaunt old hag with long hanging breasts and well-developed ribs. Her left hand is extended to hurl defiance at Sakyamuni; her right holds a hatchet-shaped instrument, and a tiger-skin is thrown round her waist. In front is a warrior with a long straight sword, making desperate efforts to get at Sakyamuni. Below him is a very impish-looking face; and near it is a figure with a pig's head, holding a large ornamental club. Below are three figures in a line,-the first of a greenish colour is turning away from the fray; the second is collecting all his strength to hurl a javelin at Sakyamuni; and the third, with curiously formed head-dress of a skull and blue feathers, is also aiming a javelin and pointing with the finger of the left hand to Sakyamuni. Immediately below these, is a bearded warrior with a striped blue shawl tied round his neck, and wearing a tight-fitting yellow coat, under which is a blue garment with a belt and dagger. He carries a large shield on the left arm, and flourishes a scimitar in his right hand. Next is a figure which has just discharged an arrow, and below are two figures.

On the right of the picture, immediately on Sakyamuni's left, is a woman holding a similar position to the one on the other side. In her rear is a warrior dressed in a striped and chequered waist-cloth, with a thin band round the waist and a kind of shawl round the neck, the ends of which float behind. He is aiming a blow with a club at Sakyamuni. Next is another figure with a pig's head, having a straight sword in its right hand, and a small circular shield in its left. In the row of figures above, one is green, and another is an animal with large open mouth and sleepy eyes like the tiger on the opposite side. On the right is Mara richly jewelled; a figure to the left holds the umbrella over him, and a dwarf below carries a standard, composed partly of a peacock's feather. To Mara's right is another dwarf displaying an empty quiver; and Mara himself is walking away from Sakyamuni, and seems to be giving up the contest.

Below Sakyamuni are the women, and two of their number whom Mara bade to tempt Sakyamuni, have a redundancy of jewelry and a scarcity of clothing. These went with mincing gait towards the sage beneath the tree, and made every effort to entice him. Some women with dainty smiles show their white teeth; some look at him with eyes askance; others stoop before him and look upwards into his face; others droop their heads so as to conceal their faces and look at one another; others toy their breasts; others are uncovered with breasts and hips bare; and others are entirely naked walking to and fro.

To the right and left of the shrine door are two scenes laid among the mountains, having a large male figure of perhaps Indra in the middle, with the thunderbolt in his left hand, and Shachi by his side. Indra wears a high jewelled tiara and large necklace, besides earrings, bracelets, armlets, and a sacred cord of several strings of pearl over his left shoulder. A small waistcloth round his loins is held up by a jewelled belt, and he holds a string of flowers in the right hand. He has a dreamy meditative expression; and Shachi holds a tray of flowers. Below is a little female dwarf gazing upwards and holding a bracelet in her right band. To the right of the large figure is a fragment of another dwarf; at the top left-hand corner are a man and woman seated on a platform, and a gauze covering with a blue border is over the woman's limbs. By the side of this group are fragments of two birds; to the right are a man and woman, the former perhaps saluting and the latter carrying flowers; and below are two small rollicking figures. On a level with the head of the large figure to the left, is a man behind a wall, leaning with his left hand on the top of the wall, and having his right hand bent, as if directing attention to the large figure. A woman peeps coyly from the rear of him, and has her left hand resting on his shoulder. In a niche below are two blue birds.

In the painting on the right side of the door, is the upper portion of Indra, larger than life, with an elaborate jewelled head-dress, and a necklace of pearls and blue stones. The left arm is bent, and the hand holds the blue thunder-bolt. To the right is Shachi in a most graceful attitude, holding daintily with both hands a tray made of rope or twisted reeds, containing flowers, one of which is a large lotus, partially open. Her robe is almost transparent; and near her is a female dwarf gazing upwards at Indra, with partly opened mouth. A casket, like an incensory, hangs from her left hand; and behind the group is a mountain, with foliage, birds, and figures in pairs. A man and woman are seated in the right hand corner, the former playing on a stringed instrument and the latter on cymbals. At the back are two mountaineers listening from behind a wall One has his foot resting over the top of the wall, and holds in his left hand a bow and two arrows: the other carries a small bag. In a small niche in the wall are two birds. On the left side stands a man to whom a woman offers a vessel containing flowers; and high up is a cherub floating in the clouds, with a vessel full of flowers.

On the right hand wall of the ' antechamber are a large number of painted Sayamunis, with the glory round their heads. They are mostly scated, but some are standing on lotus flowers, and the leaves and stalks are shown in all the spaces.

Between the front of the antechamber and the first cell-door to the right, is a mountain scene with the colossal figure of a chief in the centre, wearing a richly jewelled tiara, and holding a flower in his right band. He leans his left hand on the shoulder of an attendant, who wears a long straight sword at his back, and has a chain about his neck. Behind him is a tall female; and above him is a part of a sitting figure with legs crossed. At the chief's right is the heir wearing a tiara, and offering a tray-full of flowers. A bald head is thrust between them from behind, and is probably that of a eunuch, who is richly dressed, and rests his chin upon his right hand. In front, two Indies wearing coronets' are leaving the presence; and one of them with a tray-full of flowers, is looking wistfully back. Nearly all the ornaments are well preserved, and many of the bracelets and the white wreaths of flowers differ little from those worn at the present day.

Over the two cell-doors in this hack wall are twenty-six fragmentary figures. Above the second cell-door to the right, is a chief sitting in his palace, with a pillow of blue and gold at his hack. He leans forward to a man with a large snake, which rises from a basket at the lower right band comer. Between them is a stout red-skinned man, perhaps the minister, and over the chiefs left shoulder is a maid servant. Another figure is to the rear of the minister, and the chief's wife is seated to the right of him. The latter has her hair falling over the shoulders; her left hand rests on her raised knee, and her right hand is lifted towards her chin, while she looks inquiringly at the chief. Behind her are three men standing, one of whom has a sword; in front are two seated and all apparently are listening. In the lower right hand corner, the snake-charmer opens a basket and speaks to a snake that rises from it. A woman with a fly-flap and a man are at the back of the chief. More men are in front; and a woman wearing a bodice and striped kirtle, is pushing a boy forward. Behind them are indications of a hill with trees; and to the left is another portion of the scene. A dark clay-coloured man sits in a palace on a stuffed seat with quilted cover and pillow. His right hand rests on his queen's knee, who is seated on a chair beside him, and to whom he speaks. On the other side is a reddish female dwarf, in striped blue loin cloth or short kirtle, presenting flowers on a tray. To the rear of her is a woman holding strings of jewelry in her hand; and another woman is seated behind a pillar, gazing on the chief. A tall woman out of doors seems to beckon to a fair-skinned boy.

Between the cell-doors, and below the last picture, is an indoor scene, in which a Naga chief on the left, overshadowed by a five-hooded snake, is talking with interest to another chief on the right, seated on a large draped couch. A female with a fly-flap is to the left of the Naga chief, and her hair, as well as that of the principal figures, is bound with fillets. Behind him is a dark-red attendant, holding up the richly jewelled hilt of a straight sword; and a woman has a chased casket in her left hand, and a jewel with a string of pearls hanging from it in her right. Next to her is a man with a blue and gold flowered robe and an Iranian head dress, holding a sword with a blue hilt. A woman sits on the Naga chief's left side, dressed in blue and white striped kirtle, "with her face turned up and the left hand stretched forward as if she were speaking. A woman to the back of the other chief is handing a tray of flowers to another; and a third person, in front of the second woman, brings in a flat dish covered with flowers, and leans forward as if listening. Behind the last stands an old man; and in the foreground to the left, are two ladies seated and listening with interest. Most of the women have their hair hanging in ringlets. Outside the doorway to the left is a chief going away. He has a high tiara on his head, an umbrella is borne over him and he is accompanied by another figure surmounted by a large five-hooded snake canopy. Beyond them are two elephants, on one of which is a rider with a goad in his hand. Parts of this picture are admirably executed.

To the right of the second cell-door is a palace scene, in which four out of seven figures have snake-hoods over their heads, three women having one hood each and one woman having five hoods. The hair hangs in ringlets, and is held back in some cases by a fillet. On the left sits a Naga chief, and by the side of him sits another chief. A bearer holds an umbrella over the head of the latter. A Naga figure with a single hood and loose hair stands behind, and seems to receive a long straight sword from a woman, who also has a snake-hood and wears long ringlets. Before the latter is a lady of rank, either kneeling or sitting, as if she were importuning the chief. Behind is another Naga woman, and in front of her is a portion of a third. The porch at the back with the partly open door is a very fair piece of perspective.

On the right wall between the second and third cell-doors, and separated from the next portion by a white gateway, is a large scene which is now much destroyed. Eight elephants are shown above; and numerous soldiers were in front, of whom one was green-skinned, and one was on horseback. The soldiers were dressed in striped waist-cloths, and were armed with Nepalese swords. Three figures have deep collars round their necks, and all advance towards the left, led apparently by a demon. In front of them are four or more wild elephants, and then comes a hill scene in which Sakyamuni is seated with his feet down. Two beggars stand before him and' a disciple or beggar in his rear stands talking to a man in white, who may be a devotee, and who offers him a vessel. Close to him is a woman in white.

Over the first cell-door in this wall, are a fair-skinned chief and his wife seated on a throne. A woman appears in front, and maid-servants are seen behind, while two persons stand looking out in a door to the right. On the left is another door from which a man is looking out; and next to this are fragments, in which are several men with short hair, one with a necklace and earring, and one with a white shawl.

In the right end of the front aisle over the cell-door is a large fragment, containing a chief with a snake-hood above him, sitting to the left on a seat covered with green cloth, and holding up one hand, as if addressing the audience. A tall woman dressed in a kirtle of striped stuff, leans against a pillar behind him; and at her left hand is a red-skinned dwarf. A woman with a fly-flap, wearing a striped waist-cloth, sits before her, and looks to the right, holding the fore-finger of her left hand to her chin. Near her and beside the chief's footstool is his spittoon; and to the right sits perhaps his minister, with whom he seems to be talking. On a higher level is the queen seated on a green cushion, and dressed in transparent gauze, with rich necklaces of single and twisted chains, and a jewelled belt round her loins. A toll woman stands in her rear, with the fly-flap in her right hand, and clothed from the loins to the knee in a vertically striped garment. Behind is a fair-skinned woman with very simple head-dress; and further to the back of the chiefs wife is another woman; while over the minister's head is yet another, with flowers in her left hand, and a hand fan or mirror in her right. A very short man and woman sit before the chiefs wife, and the woman has a basket or bag on her shoulder. Over the cell-door is a gateway with a lattice window on the side of it; and in the recess is a water-pot covered by a green ball or cup, with the mouth turned down. Beyond to the right is a pastoral scene, with a herd of cows in different colours-two cows and a calf being shown in green. Some of the cows are lying, others are standing, and most of them have bells on their necks. Two green demons and another figure stand behind, as if about to carry them off.

The front wall has a large piece, between the window on the right and the central door, executed in an inferior style. The physiognomy and dress of the figures are quite peculiar, and the painting is perhaps half a century later than the rest. A pale-skinned prince sits on a dais higher than usual. His cushion has a semicircle of green over the middle of its back, with dragon mouths at the corners, and a gilt border having little figures on each side. The ends of his striped scarf are most carefully folded. Three fair bearded men in Iranian costume, completely clothed and with peaked caps, approach him from the right in a crouching attitude. The first bears a string of pearls; the second a jug or bottle, perhaps of wine; and the third a large tray filled with presents. Behind the last stands another figure near the door in white clothing, perhaps the porter, with a stick in his hand and a dagger in his belt, apparently speaking to another Iranian in the doorway, bringing in some present. At the back is another foreigner, in full white clothing, with stockings, curled hair, peaked cap, and a long straight sword at his back, holding a vessel in his hands. Behind the throne stand an attendant and a woman with a fly-flap. To the right of the latter is a red fair figure in blue clothes; and by the side of him is one still fairer, with it rich head-dress and striped loin cloth, holding a green stick. A stool is before him; and to the right are a red and a fair man, the latter with arms crossed on his breast, and wearing a turban. In front of him is a red man with his left hand on his knee, bending forward and holding up the fingers of the right hand, a if addressing some information to the prince. To the right are two other figures, one holding a dish in his hand, and a spear with a small flag attached to it. In front of the three Iranians sit three royally dressed figures; and to the left of them is a man with a basket. A woman with a fly-flap sits before the throne, and an elegantly chased spittoon is by her side. Another lady sits on the left, with rich head-dress, a breast-band, a basket near her, and some object in her lap. A red dwarf with blue earrings, but not so richly dressed, is to the back of her. Behind these two is a richly dressed young woman with breast-band, looking towards the prince. Above is a fourth woman with a fly-flap; and a fifth face looks over the back of the throne, on the prince's right. Outside the palace, an Iranian appears to the right, speaking to a green man with a stick in his hand. Behind are two horses, and in front of them is a soldier with a sword. The floor is strewn with leaves and flowers. This Iranian embassy is supposed to have been sent about A.D. 625, by Khosru II. of Persia (A.D. 591-628) to Pulikesi II. (A.D. 609-645) of Maharashtra.

In a similar position on the other side of the door, is another fragment of about the same age. Above the centre of the picture, on the left, is a chief sitting on a low dais with a high back, and having a blue and white bird in his lap.- The faces of two attendants are seen behind; and to the right is a woman with a fly-flap. A dark curly haired boy below, brings a jug forward; and to the left are two women in front of the chief, one of them with hair tied up in a chignon, and holding a vessel or casket. A child sits on the floor with crossed arms, and looks up to the chief, who seems to speak to it. In another compartment on the right, are a clay-coloured man with jewelled head-dress and a green-skinned companion with long nose, both looking at the chief. This scene perhaps represents Suddhodana and his son Siddhartha.

Outside to the right is a pipal tree; and in front of a building beyond it, is a chief with striped drawers, holding the cord of one of a pair of scales in which he has placed his foot. Behind him on his left is a man in white clothes, with a rod in his hand; and three figures at the other end of the beam, look on from the clouds. To the left of the chief are five women; and the one in front has a child, towards which the chief stretches his hand as if to put it in the scale. The females seem to object; and one fair woman, and another of greenish colour, beat their breasts. Behind these two is a very ruddy female, wearing a striped robe. She looks appealingly to the prince, her right hand rests on her breast, and the left holds the child by one arm, whose cries are attracting the attention of the women seated in the front. Beside her sits another woman, with a pathetic expression of face, and holding a child in her lap with both hands. A betel-nut palm and some large-leaved foliage rise to the rear of this group; and the young clusters of brown leaves contrast favourably with the older green ones. Behind the scales is a ruddy figure, with a white skull-cap, a close-fitting white coat, and a waist-band arranged in three distinct rolls. He is saluting the prince with-his right hand, and carries a staff in his left. Two red-bearded devotees, with hair in the top-knot style, arc in the rear of the prince, and seem to speak to him from over a wall. Above these are fragments of two standing figures, and of one sitting cross-legged, as if in conversation with a couple of others seated to the right, one of whom is of a green colour, and the other has his palms brought together as a mark of respect. These figures are seated on rectangular blocks, and the scene probably represents a trial by ordeal.

Below the first scene, the chief with the little boy again appears at the hut of some devotees, where an old man with shaved head meets him; and behind stand five disciples, each with a cloth over his left shoulder. The first holds a water vessel with one hand, and with the other signals the chief to stop. To the right of these are two red-bearded devotees near a forest.-one with flowers, and the other with grass. Part of another figure can also be made out.

From above the left window, to the end of the front aisle, are a series of scenes. Over the window is perhaps Sakyamuni's mother, Mayadevi, reclining on a couch and looking down towards a maid, who has her hand on the lady's necklace, as if to remove it. Another maid to the right, with flowered bodice, holds a fly-flap; at the head of the conch, a fair maid-servant holds a large water pot and pours its contents on her mistress's head; and so does another to the right, dressed in a blue and white loin cloth and rich necklace. Beyond the couch, a person fully covered, holds a stick as if for defence; and to the right of all, and a little lower in the doorway, is another servant with a large vessel, having a spout on one side of it. The same lady sits in a palace to the right, and has a transparent robe. A slave at her right hand has bands on her thighs; two women stand behind; and a covered female slave sits talking with her. A man is seated further to the right apparently addressing the lady, and is covered with a flowered cloth. Behind him, but nearer to her mistress, is a very fair woman with large flat dish or tray, on which are some objects which she seems about to offer to the man. A man in a white dress, comes in by a door at the rear which divides this from the next part of the picture; and below is a defaced fragment, with two figures in it. Above to the right are the lady and her eunuch seated together; another woman behind the lady comes in holding out her hand, and has her lips parted and her eyes wide open as if in astonishment. A pillar of the palace separates this from the next picture, containing a half-naked fly-flap woman on her left. To the right are the head and hand of another attendant holding a rod, both looking towards a figure with a sacred thread of rich pearls.

A lady behind him leans forward, looking to the left. Beyond and to the rear of her is an attendant in a dark bodice with white flowers, also looking in the same direction as the first two; and lower down to the left of the lady, are two more servants in white clothes. A plantain palm is in the open air on the right, and beyond are some female figures. The only piece of ceiling fresco left in the aisle, occurs over this, from the window to within eighteen inches of the wall, and chiefly contains fruits and flowers in small compartments, but one compartment has two figures in Persian dress.

In decorating the ceiling, the Buddhists arranged their work so as to fit in with the principal divisions formed by the several timbers in one of their wooden floors. A unit of the ceiling, for example, is found to be made up of four columns, with connecting girders, just like the floors. Across these run joists, and at right angles to the latter are smaller joists. The space is thus divided into a number of panels, varying in shape, and filled with ornament, which in the smaller squares is painted alternately on a black and red ground. The ground colour was first laid on, and the ornament was painted solidly over this in white. It was further developed by thin transparent colours over the white.

On three of the panels of this ceiling, is a drinking scene of n Persian attended by his wife and servants. The first part represents a sofa placed in front of a cloth-screen, and a check pattern coverlet; and on it a big stout burly-looking man is seated with a lady by his side. The man is seated cross-legged,-his face is heavy and square, and he has a beard and moustache. He has long hair, and wears a thick conical cap and turban. On his body is a coat or tunic reaching to the knee, trimmed apparently with patchwork decorations; and he has also knee-breeches and striped stockings. He holds a cup in his left hand, and a covered tray is before him, on the ground in front of the sofa. The lady has a gown reaching to the knee and a shell-jacket, both set off with patchwork trimmings. She has striped stockings, a skull-cap on her head, and earrings. Her right hand is lifted as if in the act of telling something interesting to her lord. To the right of the man stands a maid-servant in front of the sofa, arrayed in a long flowing gown, which leaves only the tips of her shoes visible. She holds s flagon shaped like a soda-water bottle, with a long narrow neck, ready to replenish her master's cup. There is a second maid behind the lady, holding a wide-mouthed covered jar. In the next part of the scene, the man holds the cup is his right hand, and a stick or a straight sword in his left. He has an elaborately worked belt, and the trimmings of the coat and gown are of different patterns. The lady leans with her right hand on the shoulder of her lord, and by her attitude, expresses great anxiety to please him. There is a third maid squatting in front, and ready to serve edibles from the covered tray beside her. In the third part, the screen behind the wife is adorned with floral designs. The coat of the man, the gown of the lady, and that of her maid, have triangular striped streamers flying from the back. The features of the lady are vivid with life, and the face wears an admirable expression of endearment. The lady has a fillet round her head, with an aigrette instead of a cap; and the maids have similar fillets, but without jewel The second maid holds a goblet; the third maid is not present, but there are two bearded thick-lipped negro-looking servants, who are serving out dishes from the covered tray. The stockings in the two last scenes are white. The male figure is seen in two small panels, accompanied by another male, and both are pledging their faith over a cup of liquor. The striped stockings and a pair of check pattern trousers are quite distinct. Dr. Rajendralal Mitra thinks the figures are Baktrian, but the streamers are Persian, and taken in connection with the embassy picture, the panels may probably have been copied by native artists, From a picture of Khosru II. and his beautiful wife Shirin II.-See Kandesh Gazetteer.]