[Feb. 2, 1872.

THE INDIAN ANTIQUARY.

42

be roughly stated as 200 feet square over all, including all the detached pavilions. The tem ple itself is 160 feet N. and S. by 122 feet E. and W. Its height, as it now remains, to the

incidents of that epic. This, like the other, is

cornice is about 25 feet from the terrace on which

and all along the east front a frieze of groups from human life, and then a cornice, with a rail, divided into panels each containing two

it stands. It cannot, therefore, be considered by any means as a large building, though large enough for effect. This, however, can hardly be judged of as it now stands, for there is no doubt but

that it was intended to raise two pyramidal spires over the sanctuaries, four smaller ones in front of these, and two more, one over each of the two central pavilions, .........and if carried out with the richness of detail exhibited in the

about 700 feet long.

(The frieze of the Par

thenon is less than 550 feet.) Then come celestial

beasts [crocodiles?] and celestial birds [swans?]

figures.

Over this are windows of pierced slabs

like those of Bailur, though not so rich or va ried. . . . . In the centre, in place of the win dows, is first a scroll and then a frieze, of gods and heavenly apsaras, dancing girls, and other objects of Hindu mythology. This frieze, which is about 5 feet 6 inches in height, is continued all round the western front of the building, and

Kait Ishwara would have made up a whole,

extends to some 400 feet in length. . . . .

which it would be difficult to rival anywhere. “The material out of which the temple is erected is an indurated pot-stone, of volcanic origin, found in the neighbourhood. This stone is said to be soft when first quarried, and easily cut in that state, though hardening on ex

Every great god of the Hindu Pantheon finds his place. Some of these are carved with a mi

posure to the atmosphere.

Even this, how

ever, will not diminish our admiration of the amount of labour bestowed on the temple, for, from the number of parts still unfinished, it is evident, that, like most others of its class, it was built in block, and carved long after the stone had become hard. As we now see it, the stone is of a pleasing creamy colour, and so close-grained as to take a polish like mar ble.......... The enduring qualities of the stone seem to be unrivalled, for though neglected

and exposed to all the vicissitudes of a tro pical climate for more than six (eight) cen turies, the minutest details are as clear and sharp as the day they were finished . . . . . . . . . . “It is of course impossible to illustrate so complicated and so varied a design...The build

ing stands upon a terrace from 5 to 6 feet in height, and paved with large slabs. On this stands a frieze of elephants following all the sinuosities of the plan and extending to some , 710 feet in length, and containing not less than 2000 elephants, most of them with riders and trappings, sculptured as only an Oriental can represent the wisest of brutes. Above these is a frieze of shardalas, or conventional lions—the

nute elaboration of detail, which can only be re

produced by photography, and may probably be considered as the most marvellous exhibition of

patient human labour that the world ever pro duced.

“It must not, however, be considered that

it is only for patient industry that this building is remarkable.

The mode in which the eastern

face is broken up by the larger masses, so as to give height and play of light and shade, is a better way of accomplishing what the Gothic architects attempted by their transepts and pro jections. This, however, is surpassed by the western front, where the variety of outline and the arrangement and subordination of the various facets in which it is disposed, must be considered a masterpiece of design in its class.

If the frieze of gods were spread along a plain surface, it would lose more than half its effect, and the vertical angles, without interfering

with the continuity of the frieze, give height and strength to the whole composition. The

disposition of the lower line of friezes is equal ly effective. Here again the artistic combi nation of horizontal

with vertical lines, and

the play of outline and of light and shade, far

surpass anything in Gothic art. The effects

emblem of the Hoisela Belálas who built the

are just what the mediaeval architects were often aiming at, but they never attained them so perfectly as was done at Halabid.

• If it were possible to illustrate the Hala

Then comes a scroll of infinite beauty

bid temple to such an extent as to render its

temple.

and variety of design; over this a frieze of horsemen and another scroll; over which is a

bas-relief of scenes from the Rāmāyana, repre senting the conquest of Ceylon and all the varied

peculiarities familiar, there would be few things more interesting or more instructive than to institute a comparison between it and the Par thenon at

Athens.