632 COMPARATIVE ARCHITECTURE. derived from a timber original. Sometimes, as at Mount Abu (No. 270), they are superimposed, the upper ones supporting an architrave which is upheld in the centre by stone struts resting on the lower capital. Hindu. — In the Dravidian choultries, there was great scope for the inventiveness of the Hindu craftsman. The capitals are of the bracket type, and in some instances not more than two columns in a building are alike. Some, as at Madura, have life-sized figures of saints, or Yalis (weird lion-like monsters) attached to them (No. 266 c), forming a contrast to Greek caryatides (No. 44 m). In other cases, a compound pier of a sturdy and light column is employed (No. 266 l). F. Mouldings. — Normally these are of a bulbous swelling outline, those to the columns often lacking refinement. A form made by overlapping rectangular slabs is frequently used in the bases and capitals of columns and dagobas. In other instances, at at Bedsa, a semi-circular open-work inoulding, recalling basket- work, is employed. The plain torus is used, and the double-convex shape into which the cross pieces of the " rails " are cut, are used as deep horizontal bands of ornaments, taking the place of mouldings proper (No. 266 f). G. Ornament. — This is principally confined to sculpture carried out with a profuseness unknown in other styles. Executed principally in hard stone, and having little plain wall surface to frame it, it forms a monument of patient labour, perhaps unequalled. The sculpture is so bound up with the peoples' religion and mythology, of which indeed it forms the mirror, that the two cannot be considered separately. In Jaina architecture, each of the twenty-four Jinas (see Religion, page 607) had a distinctive sign which was utilised by the sculptors. The trident, shield, and chakra (or wheel), the " rail " ornament (copied from the Sanchi tope) and imitations of window fronts and fa9ades are also repeated on the fronts of the early chaityas, as at Bedsa, Nassick, and elsewhere. A most characteristic feature was the representation on a fa9ade or tower of numerous small carved representations of itself. This method was also used in Assyria, and the remains often enable a fanciful restoration to be made. Painted decorations or frescoes were often employed, as at Ajunta, the walls of the cave being left plain for the purpose. The use of sculptured figures as a means of decoration was a later phase. The evolution of the sculptured umbrellas surmounting the Dagoba (or shrine) is interesting as being the prototype of the nine-storied pagodas of China. On the Gateways at Sanchi (a
