3 
perhaps a pretender, whilst at the side niche the boy 
is already on the sacrificial altar, his mother (that of 
Buddha P) vehemently intereeding for his life before 
the same stem ruler. On the third row Buddha 
riding an ass, with his attendants, arrives at the gate 
of a town where they ineet a writer with a tablet (at 
a place in the Kyang plain (in Middle Tibet) about 
10,000 feet high, a similar carving is seen where 
Buddha is represented riding on an ass, and preceded 
and followed by men wearing branches of the palm 
tree, which is, of course, unknown in that region). 
The fragments which are profusely scattered about 
the photo. have also much historical interest. One 
shows messengers riding the Bactrian camel, which 
has two humps (the Indian only having one), a proof 
of the invasion from, or at any rate the relations 
with, the countries lying to the north of the Panjab. 
Here, probably, the messengers come to eongratulate 
a Buddhist prince or Buddha himself. The top 
group probably represents Buddha already enthroned 
as a teacher. Elsewhere we have eniblems cf fire and 
lingam worship, but the worshippers seem to turn 
their backs to the lingam and adore the fire. The 
topmost fragment 3hows a cow milked by a calf fed 
in a trough held by an attendant under a palm tree. 
There is also a pretty bit at the extreme right of the 
second row from the top, representing a beautiful 
female holding a serpent. This sculpture as well as 
most of the casts were smashed in transit, but for- 
tunately the Originals, which are now at the Lahore 
Museum, are safe. 
In connexion with this group may be .mentioned 
a very remarkable carving, showing Indians at 
Olympian games, which, both in cast and original, 
is at the Vienna Exhibition. The most remarkable 
feature about the Collection is the minuteness of the 
carving on the stone or slate, and the variety and 
completeness of historical and religious representa- 
tion, which will require much study before the above 
eonjectures are either confirmed or rejected, and in 
either direction our knowledge of an obscure period 
of history is enlarged. 
Photo. 11. Consists of two central groups, again 
representing the three types of Buddhist, Bactrian, 
and low Aboriginal, and repeats the wandering and 
seated Buddha referred to elsewhere. 
Photo. 12. Consists chiefly of architectural frag 
ments, in which the “ Buddhist railing,” the device 
of serpent ornamentation (elsewhere seen in this Col 
lection in connexion with men holding up a long 
coil of serpents)—a lingam (?), is in the middle, and 
should be compared with a curious phallos brought 
from 'übet, and a Hindu emblem of the same kind, 
which is placed in Dr. Leitner’s Hindu group of 
architecture. Curious are the two specimens of 
figures in mortar (gypsum) resting on a thick base, 
and also representing Buddha and two worshippers. 
The Gweco-Buddhists evidently knew how to cast 
moulds in mortar, and the art of Casting moulds in 
mud is still faintly preserved at Lahore (some excel- 
lent specimens of this have been brought over to 
Vienna by Hr. Leitner). Elsewhere, but not yet pho- 
tographed, are cornices, capitals, &c., of which the 
highest school of architecture need not be ashamed. 
The majority of the sculptures are not photo- 
graphed, and our space only allows us to rei'er to 
the most important of the remaining ones. 
The figure of the Buddhist hermit who has just 
breathed his last is a marvellous success of artistic 
representation. The sunken eyes and the lines in 
the cheeks and the mouth sliow thought and priva- 
tion. This carving has received a red daub on the 
forehead by some Hindu who wanted to worship it. 
This brings us back to what is seen on most of the 
statues, to whatever type they may belong, viz., they 
wear the “ tikka ” on their foreheads. Very few, in 
fact, only two, of the faces are beardecl, and those 
that are so belong either to a Muhammadan cast of 
countenance [vide a head in mortar), or to the kilted 
invaders (Scythians ?), to ivhom we have already 
referred. (In a group at the Lahore Museum bearded 
men perform the rites at cremation.) Generally the 
Buddhist type has no hair on his face (that of his 
head being rolled up in a simple top-knot), whilst 
the warriors have only a thin moustache. 
Whilst speaking of these heads we must draw the 
attention of the visitor to the modern Hindu village 
gods in clay and brass, and to the 85 modern repre- 
sentations of Tibetan deities and deceased Lamas 
(made partly out of the ashes of the latter mixed 
with clay), which show that the lineaments of Buddha 
yet linger in the minds of the sculptor in the Punjab, 
Zanskar, and Ladak. 
A stone representing Egyptian deities and hiero- 
glyphics has also been brought by Dr. Leitner, which 
need not be described here, but which, with a Roman 
and a corrupt Byzantine head procured in Asia 
Minor, will not only serve for purposes of com- 
parison, but also prove that if ancient Buddhistic and 
Indian art has been affeeted at all by foreign ele- 
ments, it could only have been by the Greek, at and 
a few centuries after, the invasion of Alexander the 
Great. 
On the frontier of the Panjab, Greek art is strongest 
in India. As we go south this influence grows weaker. 
Bizarre and grotesque imitations of Greek tradition, 
and want of knowledge of proportion, characterise 
the productions of each successive Century. The 
simple halo becomes eonverted into the seven-headed 
serpent {vide the large stone figure and the brass 
Buddha in Dr. Leitner’s Indian collection); serpents 
become hideous dragons; arms, eyes, and feet 
multiply on the human body; drapery cedes to Orna 
ment, and, except in the richness and arrangement 
of colours as well as in the minuteness of elaborate 
carving and tracing (re-invigorated by Muhammadan 
influences), a period of degeneraey in art is foreseen, 
which unfortunately the present state only too com- 
pletely fulfils. A few words regarding the Indian 
group of architecture may not be inappropriafe. 
It has been placed under pillars often seen in 
Hindu and Buddhist temples, and fonns a bay of 
its own in the Indian section. Photographs of Indian 
buildings and deities are profusely hung at its sides, 
and a glass case containing a series of brass gods, 
bells, &e., &c., as now used in Hindu worship, is 
placed inside the bay. 18 specimens of this group 
deserve special attention. 
1. Hindu deity, apparently modelled after Buddha 
(the Brahmins wisely made Buddha an incarnation 
of Vishnu), obtained from a nun at Keiäs (the ancient 
Sinhapura, now a sacred tank and shrine in the 
Jhelaum district of the Punjab), in whose family it is 
said to have been for 800 years. 
2. Lingam and urn (male and female emblems). 
A pebble does here for the phallos. * 
3. Casts showing (a) fire-worship, (J) the public 
games at the time of the Greeco-Buddhists, (c) Bac 
trian camels as proof of northern invasion, (d) Indo- 
Scythian king, (e) face of Indo-Bactrian king. 
8. Very ancient brass jug, elaborately carved, 
showing various scenes out of the Ramayana, &c., 
A 2