26 
68. The Great Pagoda, the golden lotus tank. 
The Great Pagoda, carved figure on right near 
the entrance. 
The Great Pagoda, carved pillar near the en 
trance. By Captain Lyon. 
Carvings on stone base of tower. Streevelli- 
puttur. 
The large Juggernaut ear. Streevelliputtur. 
Another view of large Juggernaut car. 
By Captain Lyon. 
69. The Great Pagoda, pillar and frescos on wall. 
The Great Pagoda, another view of the golden 
lotus tank. By Captain Lyon. 
70. The Great Pagoda, carved pillar in the Thon 
sand Pillar portico. 
The Great Pagoda, the Yali. 
The Great Pagoda, carved pillar in portico, near 
the tank. By Captain Lyon. 
71. The Great Pagoda, carved pillars in the Thou- 
sand Pillar portico. By Captain Lyon. 
72. The Great Pagoda, carved pillar in the Thousand 
Pillar portico. By Captain Lyon. 
78. Tank and portion of old temple. Streevelli 
puttur. 
The rock and sacred tank. Kaloogoomulla. 
Carvings on upper part of the rock. Kaloogoo- 
raulla. By Captain Lyon. 
79. Another portion of carvings on the rock. Ka 
loogoomulla. 
Other carvings on the roek. Kaloogoomulla. 
View of rock out of which temple is cut. Ka 
loogoomulla. By Captain Lyon. 
80. The beautiful monolith. Kaloogoomulla. 
A more detailed view of the monolith. 
By Captain Lyon. 
The Palace at Madura and tank at Secundermali 
(73 to 76), owe t.heir splendour to the same munificent 
monarch. Being secular buildings, however, they 
betray the influence of the arched style which the 
Mahömedans had introduced into India. These 
forms were never admitted in temples, or sacred 
buildings of any sort, but led to many combinations 
of extreme pieturesqueness in palaces and buildings 
devoted to secular purposes. 
73. Madura Palace, S.E. angle of the quadrangle. 
Madura Palace, view of front. 
Madura Palace. General view from outside the 
walls. By Captain Lyon. 
74. Madura Palace, view from interior looking out. 
Madura Palace, the interior. 
Madura Palace, view of the side aisle. 
Madura Palace, north side of quadrangle. 
By Captain Lyon. 
75. Another view of the sacred tank. Madura. 
The interior of the Tuncum. Madura. 
The sacred tank. Madura. B Captain Lyon. 
76. The rock and tank. Secundermalie, near Ma 
dura. 
Front of entrance porch. Secundermalie. 
Interior of the entrance porch. Secundermalie. 
By Captain Lyon. 
The following six frames (77 to 82) contain a 
few representations of the ordinary temple archi- 
tecture of the South of India. The most remarkable 
example is the unfinished roek-cut temple at Haloo- 
goomulla. In style it very much resembles the 
Kailas at Elora, and may be of the same age, 9th or 
10th Century. It was evidently intended to mark 
the triumph of the religion of Siva over that of 
Jina, to which the rock sculptures (78 and 79) were 
dedicated. As the Kailas represented the same 
victory over the Buddhists, as shown in the Dher- 
warrah and Vishwacarma caves. 
The four statues in the Tinnevelly Pagoda (81) 
are very remarkable specimens of Hindu art. They 
are cut in the hardest basalt which no ordinary tool 
can scratch. 
77- The large pyramidal tower at entrance. Stree 
velliputtur. 
81. Tinnevelly Pagoda. The tank and surrounding 
objects. 
Tinnevelly Pagoda, The entrance gatevvay. 
Carved pillar in Tinnevelly Pagoda. Colossal 
figure of Kuman. 
Carved pillar in Tinnevelly Pagoda. Colossal 
figui'e of Verrabadrum. 
Carved pillar in Tinnevelly Pagoda. Colossal 
figure of Pagade. 
Carved pillar in Tinnevelly Pagoda. Colossal 
figure of Argunan. ' B y Captain Lyon. 
82. Tritehindoor Pagoda. Distant view. 
Tritchindoor Pagoda. Carvings on base of 
tower. 
Tritchindoor Pagoda. Section of old door under 
great tower. 
Tritchindoor Pagoda. The great pyramidal 
tower over gateway. By captain Lyon. 
The Pagoda in the island of Ramisseram, between 
Ceylon and the mainland, is one of the most remark 
able in the south, not for its Vimana, for that is. 
comparatively insignificant, nor yet for its Gopuras, 
though these are elegant and of considerable magni- 
tude, but for its long drawn aisles. A double ränge 
of these, one within the other, encloses the central 
space. Some of them extend to 700 feet in a direct 
line, and the whole aggregate upwards of 4,000 feet. 
Their age is slightly anterior to that of Trimifi 
Naik’s Choultry, and some parts of the temple,—the 
Vimana, for instance,—may date from the 13th or 
14th Century. Latterly, as may be seen from the 
photographs, they have been frightfully disfigured 
by whitewash, and bedaubed with paint in the 
vulgarest possible taste. 
83. Ramisseram Pagoda, island of Paumben. Pyra 
midal gateway at west entrance. 
Ramisseram Pagoda. 
Ramisseram Pagoda. 
from west gateway. 
84. Ramisseram Pagoda. 
corridor. 
Ramisseram Pagoda. 
corridor. 
Ramisseram Pagoda. 
corridor. 
The east entrance. 
Entrance passage as seen 
By Captain Lyon. 
Carved pillar in centre 
Carved pillar in centre 
Carved pillar in centre