around the Kttib Miliar. 7 is poured gelatine. After about twelve hours' cooling in a temperature of not over 75° Fahrenheit, the gelatine will have attained the consistency of India-rubber, and may be peeled off the carved surface. In cases of deep undercutting, considerable force is required to effect this. The gelatine mould is then replaced on the wall, which is laid in a horizontal position on the ground, the inner surface of which it has reproduced in reverse, and being thus held rigid a plaster cast may be made in the usual way. Generally a fresh mould has to be made for every fresh cast that is produced, as the plaster in setting gets heated, and being in contact for some time with the surface of the gelatine, the heat melts the delicate portions f fa e gelatine, and destroys the mould. In cold weather more than one cast may be produced from a single mould. Various preparations are sometimes used to render some slight protection to the surface of the gelatine, but these almost invariably damage the sharpness of the mould. In every distinct operation the greatest care and attention are required, in order that the natural good qualities of the gelatine may be allowed perfect freedom in producing an accurate copy. The photograph on the opposite page, of the group represents the casting operations at the Kutb in progress. The three moulds under manipulation show the position of the gelatine mould inside the clay wall. That upon the box in the centre of the picture has been cleaned, and is ready for casting from. The other two are being brushed out preparatory to casting. On the left is the plaster of Paris in a bag — the pans in which it is mixed with the water are near to it, and water is being poured out, by the " Bhisti " or water bearer, into one of them. On the right are the copper pails in which the gelatine is boiled. The casts made at the Kutb weighed about six tons when packed; an equal number of facsimiles were produced under the superintendence of Corporal Jackson, at Fathpiir- Sikri, near Agra, and the whole collection was sent back to England, overland, and reached London about the end of May, 1871. They then underwent such repairs as had been rendered needful by the casualties of a long voyage, and from them have been reproduced two sets of casts, one for London and one for Edinburgh. The casts of Indian subjects now in the possession of the South Kensington Museum represent — 1. Buddhist art, as illustrated by the Eastern Gateway of the Sanchi Tope (probable date, commencement of the Christian era. See General Cunningham's " Bhilsa Topes,"
