But the most remarkable temples are those known as the Sas Bahu, the larger one dedicated seemingly to Padmaprabha, the sixth Tirthankara, and built in the form of a cross and apparently founded in 1092 A.D. All that remains of it, however, are the porch and a ruined sanctuary. Fergusson1 observes that "This temple is interesting, not only from its perfectly known date, which is a landmark in the style, but from its sculptures exhibiting such a mixture of Jainism and Vishnuism as to have led to considerable difference of opinion as to which religion it should be ascribed. It is in fact a perfect architectural illustration of that confusion. between the two faiths already remarked upon at page 561," where Mr. Fergusson states his opinion that Buddhism, Jainism and Vishnuism are "three stages of one superstition of a native race." He goes on to remark-"It can hardly be doubted that it was originally dedicated to one of the Tirthankars; but all the nine Avatars of Vishnu

are

The smaller of these two temples, also in the form of a cross, was probably built about the same time as the larger one, and has a similar history.

General Cunningham has also observed the remains of another Jain temple, or rather a Muhammadan building made of Jain materials.

There is also the Teli-ka-Mandir, the loftiest building in Gwalior, originally dedicated to the worship of Vishnu, but, according to Cunningham, now devoted to the worship of Siva, and this temple he considers dates from the 9th or 10th century.

A temple of the Sun existed in Gwalior at the beginning of the 4th century, but it was destroyed by the Emperor

1 Op. cit., p. 632.

Altamsh, the Slave King of Delhi, in 1232 A.D. General Cunningham believes that the site of this temple is indicated by the tank called Suraj-Kund.1

There are said to be numerous subterranean passages, and one is supposed to lead to Agra.2

The following copper pagoda and figures were found in 1869, in excavating foundations for a mess-house in the Fortress, near the remains of the old citadel wall, at the depth of 12 or 13 feet. An inscribed slab about 9" 50 square was found at the same time; but whether exactly in the same locality as the figures, I have been unable to discover.

Dr. Mitra has been so good as to translate this inscription for me which he reads thus:

"Salutation to the Supreme Lord of the Ganas. In the Saka year of the auspicious Salivahana, numbering the sages (7), the sages (7), the lord (6) and mother (1) together equal to 1677, and corresponding to the Christian year 1755, on the first of the wane in the month of Kārtika, on Sunday, when the asterism in the ascendant was Mriga-siras, verily at the vesper conjunction, this beautiful assembly hall with (broad) foundations was erected on the Gopa hill, for the inhabitants, by

Lakshmana, younger brother of Rama. In the year Vikrama Samvat, 1812, in the year named Parthiva (of Jupiter's cycle), on Sunday, the first of the wane, in the month of Kārtika

دو

"The architect was Devasena."

Dr. Mitra makes the following observations on the word Gopa. He says "the word in the text is gopājnayā, and it appears very clearly on the stone. It means "by order of Gopa," but the meaning does not seem consistent. Who

For a translation of the inscription regarding this temple, see Dr. Mitra, Journ. As. Soc. Beng., Vol. XXX, p. 267. p. 102.

2 Arch. Surv. Rep., Vol. VII.,

Gopa is does not appear. If it had been the name of a king, the writer would have for certain put in a regal title; if that of a common person his order would signify nothing, and would not have been referred to. I suspect, therefore, that the engraver has, by a blunder, converted the original reading gopūhvaye, 'on the hill called Gopa,' into the inapplicable word. The locale of the hall is what the context requires here, and I have accordingly rejected the apparent reading in my translation." This slab is in the Inscription room of this Museum.

Gr. 1.-A quadrangular tower made of copper, but much corroded. The total height is 1'6"-75, and its basement is 6" 25 square, and about 4" high. There are three storeys, each of which is supported by a pillar at each angle, and the storeys diminish in height from below upwards. Each is solid, and there are 12, 8 and 4 Jinas, back to back in the first, second and third storeys respectively, that is, all the twenty-four Jinas are represented. The four figures in the uppermost storey differ from the others in being naked and being in the bhumisparsa mudrā, and one of them, Parswanatha, is indicated by his cognizance, the polycephalous snake forming a canopy over his head, but the symbols of the other twenty-three Jinas cannot be detected. All appear to have had a triangular figure on the centre of the chest. The top of the tower terminates in an amlasila ornament.

This temple and the following four copper figures were presented by the Government of India, 13th August 1869.

Gr. 2.-A figure apparently of Chandraprabha, the eighth Jina, in the bhumisparsā mudra, on a throne, the back of which supports a large nimbus surmounted by the crescent moon. At the sides of the upper portion of the back of the throne there is an elephant's head. The total height is 10" 30

the breadth of the throne 5", and the height of the figure 5." The hair is in small curly locks, and the figure is naked.

Gr. 3.-A figure of a Jina in the bhumisparsā mudrā, but with no symbol remaining to indicate who is intended; height 5" 50.

Gr. 4.-Another figure, apparently of a Jina in the bhumisparsa mudra, but the symbol is lost. The hair is long, and falls down over the shoulders. Height 5.50; breadth of throne 3"; height of figure 3" 50. The back of the throne and nimbus have been broken off.

Gr. 5.-A much corroded figure of a Jina in the bhumisparsa mudra, and not seated on a throne. Height of the figure 6" 75.

MISCELLANEOUS JAIN SCULPTURES.

human shape

J.Ms. 1.-A sculpture, 4' high by 2' 2" broad, being an erect figure of Pārswanatha standing under a seven-hooded snake, the figure being carved in deep relief, so much so, that it is only connected to the slab by its head, shoulders, and a few other parts at intervals below. The coils of the snake behind the figure extend to the ground, and have been ingeniously taken advantage of by the sculptor to be the points at which the figure is attached to the main mass. On the right hand of Parswanatha stands a female Naga in with a snake over her head, and holding a long handled chhatra over the Jina. The rest of the slab is profusely covered over with human figures, demons, monsters and animals, doubtless a representation of the attack on Parswanatha by his enemy Kamatha, treated after the fashion of the attack of Mara on Buddha Gotama, as depicted in Buddhist sculptures, e.g., those from Sārānāth in this gallery, and already described. Some of the uppermost figures are attempting to hurl down rocks, while others at the side attack the Jina, sword and shield

in hand. Some of the attacking figures have the heads of animals, and these have generally human faces represented on their bellies.1 A number of the human figures are much emaciated; and one in particular, a large male figure to the right, is a rather powerfully executed figure, a personification of famine with sunken eyeballs, his body so emaciated that each individual muscle is portrayed as if it had been carefully dissected out. Above it, a buffalo rears against the Tirthankara. At the feet of the Jina, on the left hand side, there are some little Naga figures, in human form, kneeling in adoration, and, on the opposite side, a man and a woman are in adoration at the feet of the Jina.2

The history of this sculpture has not been traced.

J.Ms. 2.-A black stone figure of Parswanatha roughly executed, 1'8" high by 1′ 4′′ broad, and with an inscription on the back of the pedestal. There is no slab behind the figure. It is seated in the bhumisparsā mudrā. There is a large conical eight-lobed kaustubha 3-like symbol on the centre of the chest, while the nipples are represented each as a large circle, containing a somewhat convex disc, with a rounded eminence in its centre. On the upturned left palm there is a diamond-shaped figure; and on the soles, portions apparently of a similar symbol.

I am indebted to Babu Pratapa Chandra Ghosha for the information that the inscription states that the figure was dedicated by Sri Ratri Sinha in praise of Pārswanatha and the dedication of his temples.

J.Ms. 3.—A similar figure to the last, also inscribed and with similar symbols. The ears are long and pendulous,

1 Arch. Surv. Rep., Vol. I, p. 255: ibid, Vol. XI, p. 11.

2 Cunningham, op. cit., Vol. I, p. 264, foot-note.

The kaustubha was a celebrated jewel obtained at the churning of the ocean, and worn by Vishnu or Krishna on his bosom. Dowson, op. cit.