Cave X. is the second chaitya, and the largest of its kind at Ajanta. The facade has entirely fallen away, but it was probably at first of wood, and at a later date the lower portion of it was built of very large bricks. The roof of the nave was adorned with wooden ribs; but the aisles have stone ribs carved in imitation of wood,-a comparatively modern feature, and the first step towards the architectural changes of the Mahayana caves, which have stone ribs both in the nave and in the aisles. The cave is also higher up the rock than No. IX., and was evidently subsequent to the latter. It is 41 feet 1 inch by 95 feet 6 inches, and 36 feet high; and its inner end is semicircular. The colonnade that surrounds the nave is likewise arranged in a semicircle. The columns, thirty-five in number, were originally plastered and painted, and are plain octagons, 14 feet high, without bases or capitals. Over them rises a plain entablature 9½ feet deep, from which springs the arched roof ribbed with wood, rising 12½ feet more, with a span of 23½ feet. The aisles are 6 feet wide, and have half-arched roofs, ribbed in the rock. The dagoba is without any ornament, and stands on a base 15½ feet in diameter. Its dome is rather more than half a sphere, and supports a capital, consisting of an imitation box, covered by a series of thin square slabs, each projecting a little over the one below it. An inscription in front of the great arch, to the right side is in Maurya characters of the first half of the second century before Christ. It records that the cave front was the gift of Katahadi, the son of the wife of the Vasishtha family. [See Archaeological Survey of Western India, Vol. IV.] There is another inscription painted over an older work on the walls, but the characters are more modern. The cave contains a great deal of fresco paintings of various ages, but probably none of them are as old as the cave itself. [The whole of the cave has been painted; and parts of it, more than once. The paintings on the two side walls are of early date, as may be inferred from the old form of the characters in the fragment of a painted inscription in Pali on the left wall. The painting on the right side is a representation of the Chhadanta jataka, or the story of Buddha, in a previous birth, when he was born as a six tusked elephant. The elephant is painted white, with six tusks, and is seen at the head of a herd of elephants. The huntsman is shown in the presence of the queen, and among the rocky ridges, returning with the tusks. The scene in the extreme right seems to pourtray the distraction of the queen, under the remorse she felt for her cruelty. The painting is very much destroyed. To the right was a building with peacocks; and to the left was a procession of men differently dressed and variously armed, some-on foot, some on horseback, and some with halberts; and behind these were groups of women. The date of the oldest paintings seems to point to the second century A.D.; but the figures and costumes resemble those found in the sculptures at Sanchi, in the first century A.D. On the left wall are two drawings of gateways, very much like the gateways at Sanchi. A little in front of them are five or six head-dresses of the age of Satakarni. Still nearer the front are soldiers with bows and battle-axes. The Bodhi tree is also painted, with people worshipping, and offerings suspended to it. The paintings on the pillars and between the ribs of the roofs in the aisles are principally figures of Buddha, and are comparatively modern. They contain several short donative inscriptions in Sanskrit, indicating that they were the work of Mahayana followers, and may belong to the 5th and 6th centuries.-See Kandesh Gazetteer and Archaeological Survey Report of Western India, Vol. IV.]