2 
religion, and on universal history, whilst the variety 
of types found on the Grseco-Buddhistic carvings 
possesses great etlmological importanee. 
The material of which the sculptures ave made is 
various, but consists chiefly of slate, mortar, lime, 
and red sandstone. 
It should be noticed that the Grasco-Buddhistic 
carvings are plaeed together with pictures, etc., illus- 
trating the Lamaic Buddhism of Tibet for purposes 
of comparison, whilst in the architectural bay casts 
of the several varieties of Buddhistic sculpture have 
been put side by side the Indo-Scythian and ancient 
Hindu Originals for the same reason. 
The following brief description of the sculptures 
will follow the order of the photographs which ave 
also exhibited with the sculptures. 
Photograph I. shows sculptures No. 1 to 24, sur- 
mounted by a brass jug on which the most important 
scenes of the Ramayana, the incarnations of Vishnu, 
Shivaic emblems, etc., are shown. Proceeding from 
left to right, we find on the uppermost ledge of this 
Photo., first, an almost purely Grecian face and hair- 
dress, then a female face surmounted by a diadem of 
a pleasing, though ironical expression. and lastly a 
fragment representing a festive scene in which goats 
are led out by dancing men. On the second ledge 
from the top rests a large niche fragment repre 
senting several rows of figures, of which the central 
one is Buddha surrounded by princely as well as other 
worshippers; another shows the king (Kanishka?) 
and Ins brothers seated on a throne (in the un-Indian 
Position, of which a separate specimen (Photo. 3) has 
also been discovered) whilst representatives of a 
lower type, and dragon-men and women, drawn 
without the exaggeration so characteristic of Indian 
sculpture, complete the surroundings of this remark- 
able group. On the extreme left of the second ledge 
we haye an Indo-Bactrian head, then a pure 
Buddhist, characterized by the simple top-knot, and 
similar heads, including a Scythian one, towards the 
right. On the third shelf from the top we have on 
the extreme right Buddha meeting the hermit 
previous to selecting a religious life, then a Hindu 
Mol made in imitation of Buddha, evidently con- 
ceived by the Brahmins to “take the wind out of the 
sails ” of the hostile creed ; in the centre we have a 
horse and rider borne by men of the low aboriginal 
type which will be alluded to elsewhere. We also 
find on this shelf a beautifully executed fragment, 
possessing the Buddhist railing and giving some idea 
of their places of worship; whilst the lowest shelf 
(of which a fragment belongs to the niche group on 
the second ledge) contains pieces which have yet to 
be examined. 
Photo. 2. Represents five Buddhas in nearly the 
same favorite attitude of holding the arms and seated 
cross-legged (a l’indienne). They all wear their 
hair in a simple top-knot andrest their heads against 
a halo. The drapery is varied and artistic in this 
group, and the bas-reliefs have to be studied not 
only for the types of the worshippers, but because 
their attitudes are sometimes un-Indian (some falling 
on one knee) whilst in some it is doubtful whether a 
fire-altar or a lingam (phallos) is worshipped. 
_ Photo. 3. We have never hitherto had this figure 
either of Kanishka or of a Bactrian protector (though 
not worshipper) of Buddhism (reasons for which 
second view will be alleged elsewhere) seated in this 
European way on a throne, instead of the cross-legged 
way of the Indians. The fellow to this statue is a 
splendid specimen presented to the Belvedere of 
Vienna by Dr. Leitner. 
Photo 4. bat the Belvedere, but may be described 
here, because it is the most complete specimen of the 
ordinary Buddhist worship of the purest type, of 
which numerous statues are now shown in the Indian 
section. The bas-reliefs show Buddha surrounded 
by female as well as male worshippers, resting rather 
by than falling on one knee. 
Photo. 5. Ten figures. Not only have we here 
worshippers in several attitudes, but also Buddha in 
a group, standing and teaching. One hand is up- 
lifted to receive a blessing from above, the other is 
turned down to give it. We also see a group of 
Scythians wearing kilts bent on an expedition, whilst 
in another a king turns away Ins face from a Buddha 
(a representation of which we shall see elsewhere). 
Photo. 6. Lion heads Uphold a seated Buddha 
who is tinted red. The worshippers in the bas- 
reliefs stand instead of kneeling. The stone below 
is an inscription, a votive slab of King Gondafares, 
who is mentioned in the golden legends. This and 
the huga Mol at the side have not reached Vienna. 
Photo. 7- Here three princes sit in the attitude of 
Buddha, whilst two Indo-Bactrian heads are at the 
sides. A fire altar (?) is below one of the statues. 
Photo. 8. The North Indian Raja, with Ins thin 
moustache, the “ tikka ” mark on his forehead is 
here, represented with a Greek diadem and head- 
dress, The face shows dignity and resolution, and 
is altogether the finest specimen of the kind in the 
Collection. 
Photo. 9. Contains six figures. Beginning from 
the left-hand groups at the top, we find in it repre 
sentatives of three races—the quasi-Tibetan face of 
Buddha and the two attendants (angels?) above him 
the protecting attitude of the two Bactrian warriors 
at the sides of Buddha must not be confounded 
with worship—at the bottom worship or serve two 
men, apparently belonging to the low aboriginal 
type shown in the right-hand group of three boys at 
the top (whose thick lips, curly and short hair, want 
of any head-dress, scanty drapery, and association 
with the dog, seem to show them as belonging to a 
low race of aborigines). Below are niches in which 
Buddha, and possibly two of his disciples are repre 
sented in a wandering attitude. At the side between 
two ornamental pillars is Buddha on his travels, 
whilst in another sculpture of the same kind he is 
seated, holding up his hand (a similar one has been 
sent by Dr. Leitner to the Belvedere). 
Photo 10. This beautiful collection, of which casts 
have been sent both to the Belvedere and the Vienna 
Exhibition, consists of ten sculptures which seem to 
represent almost a continuous tale. In one, the 
mother of Buddha (?) Stands in a jubilant attitude 
at the expectation of the coming event (in U sculp 
ture in the possession of Prince Frederick Augus- 
tenburg of Schleswig-Holstein she is reposing on 
a couch whilst a sun-beam falls on her bosom and 
her son is born). In another, he is born at her 
side, she standing as jubilant as ever, whilst ladies 
of high birth receive the infant. In a third, the 
young prince is led by an attendant holding an um- 
brella (the sign of authority) towards an idol to which 
he appears to refuse worship, beyond which and a soli- 
tary pillar (a lingam) ugly dwarfs are seated. In a 
fourth, the one at the bottom on the right a boy (the 
rightful prince ?) is led forward on to a block, in front 
of a stern-looking king to be killed, whilst one of the 
group of attendants seems to keep back his brother or