24 
4Ö. View north. Elora. 
View south. Elora. 
Entrance north to the upper story. Elora. 
By G. F. Lafond. 
41. The eave of Ramishwar, or Lord of Rama. 
Elora. 
Interior of the Dhumar Lena. Elora. 
Sy Sourne and Shepherd. 
Cave with the seulpture of Shiva and Parvati. 
Elora. 
42. Cave with seulpture of Shiva as Virabhadra. 
Elora. 
Ceremony before the nuptials of Shiva and 
Parvati. Elora. 
Marriage ceremony of Shiva and Parvati. Elora. 
Sy G. F. Lafond. 
43. In dranh the wife of Indra. Elora. 
Indra, the God of the Air and of the Heavens. 
Elora. 
The exterior of Indra’s Cave. Elora. 
Sy G. E. Lafond. 
44. Exterior of the Indra Subha. Elora. 
Exterior of the Jugnath Subha. Elora. 
Interior of the Indra Subha. Elora. 
By Sonne and Shepherd. 
45. Exterior of Pursooramah’s Cave. Elora. 
Interior of the Cave of Juggannath. Elora. 
Interior of the Cave of Juggannath. Elora. 
Sy G. F. Lafond. 
The Elephanta Cave in Bombay Harbour was the 
one first known to Europeans, and is from its Situa 
tion the one most frequently visited and described. 
Like its counterpart the Dhumar Lena at Elora it 
helongs to the Sth or 9th, it may even extend into 
the 10th Century of our era. 
46. Elephanta Cave, the chamher. Bombay. 
Elephanta Tiger Cave. 
Elephanta Cave, entrance. 
Sy Bombay Photo. Co. 
47. Elephanta Cave. 
Elephanta Cave. 
Interior of Elephanta Cave. Sy Bombay Photo. Co. 
48. Elephanta Caves, panel. Bombay. 
Elephanta Caves, panel representing the mar 
riage of Shiva. 
Interior of Elephanta Cave, No. 2. 
Sy Bombay Photo. Co. 
DRAVIDIAN ARCHITECTURE. 
The following 70 frames (49 to 120) are devoted to the style of arehitecture peculiar to 
the Dravidian or Tamul speaking races of the south of India, and is easily distinguishable 
from either the Buddhist or Jaina styles, or the Contemporary arehitecture of northem 
India. The Temples or Vimanas are always straight-lined pyramids elevated on lofty bases. 
The upper or sloping part is always divided in separate storeys, and adorned with what 
appears to be reminiscences of cells. Another very remarkable feature is the Gopura or 
gateways which are generally higher and always more numerous than the temples, 
and are divided like the temple into from 3 to 13 storeys. The temples always terminate 
upwards in a polygonal dome, the gopuras in an oblong curvilinear roof. 
N o known specimen of Dravidian arehitecture can claim an authentic date extending 
beyond the 8th Century of our era, but the style was continued and reached its culmina- 
ting point of magnificence just before the time when our occupation of the country gave 
a death blow to its indigenous arts. 
The first 6 frames (49 to 54), though properly 
classed under Dravidian arehitecture, also belong to 
the Rock-cut series. Theyareboth. The five Raths, 
as they are called, illustrated in frames 49 to 51, are 
as remarkable as anything of their dass in India. 
They seem all of the same age, and, like everything 
eise at this place, were left unfinished. It is, however, 
extremely difficult to determine what their age really 
is. Some caves at this place may be older, but the 
Raths and all the principal bassi-relievi seem subse- 
quent to the year 1000 and may extend to 1100 or 
1200. They certainly appear to be more modern 
than the Hindu caves at Elora, though stränge to 
say the Kailas is in the same style as these, though 
differing entirely from the intermediate Contemporary 
examples. 
One of the most remarkable objects at Mahavel- 
lipore is the great bas-relief (fratne 52) extending 90 
feet north and south, on two great granite boulders, 
or masses. It is wholly devoted to serpent worship, 
though only the tail of the great Nftga is to be seen 
in the crack between the two rocks. His wife and 
all his attendants are Nftgas, and are still in situ, and 
the upper part of his body has recently been excavated 
from the sand in which it was buried when the pho- 
tographs were taken. All the figures of men and 
animals are tending from the right and left towards 
this now dethroned divinity. 
49. The fourth monolith. Mahavellipore, near 
Madras. 
General view of the monoliths from the S. W. 
Mahavellipore. 
The fifth monolith. Mahavellipore. 
By Captain Lyon. 
50. Another view of the cracked monolith. Maha 
vellipore. 
The cracked monolith. Mahavellipore. 
The first and second monolith. Mahavelli 
pore. By Captain Lyon. 
51. The first monolith. Mahavellipore. 
View of monolithic temples. Mahavellipore. 
Small monolithic temple. Mahavellipore. 
By Captain Lyon, 
52. Porch adjoining tlie bassorelievos. Mahavelli 
pore.