In the worst equipped pagoda there are at least a dozen idols of every variety. They do duty for generations, for, though they become black and begrimed with oil and ashes, they are rarely replaced, as age and dirt but add to their sanctity. But now and then they get desecrated for some reason, and fresh ones have to be installed in their stead; or it may be that extensions are made in the temple, and godlings in the Hindu Pantheon, not accommodated within its precincts till then, have to be carved and consecrated. It is on such occasions that the hands of the local Sthapathi are full of work, and his workshop is as busy as a bee-hive. In the larger temples, such as the one at Madura, the idols in which are to be counted by the score, there are Sthapathis on the establishment receiving fixed emoluments. Despite the smallness of the annual salary, the office of temple Sthapathi is an eagerly coveted one, for, among other privileges, the fortunate individual enjoys that of having his workshop located in the temple premises, and thereby secures an advertisement that is not to be despised. Besides, he is not debarred from adding to his pecuniary resources by doing outside work when his hands are idle. Among stone images, the largest demand is for representations of Ganapati or Vignesvara (the elephant god), whose popularity extends throughout India. Every hamlet has at least one little temple devoted to his exclusive worship, and his shrines are found in the most unlikely places. Travellers who have had occasion to pass along the sandy roads of the Tanjore district must be familiar with the idols of the god of the protuberant paunch, which they pass every half mile or so, reposing under the shade of avenue trees with an air of self-satisfaction suffusing their elephantine features. Among other idols called into being for the purpose of
