INTRODUCTION. 5 the narrative form must be followed as far as is compatible with such a subject. All technical and unfamiliar names must be avoided wherever it is possible to do so, and the whole accompanied with a sufficient number of illustrations to enable its forms to be mastered without difficulty. Even if this is attended to, no one volume can tell the whole of so varied and so complex a history. Without preliminary or subsequent study it can hardly be expected that so new and so vast a subject can be grasped ; but one volume may contain a complete outline of the whole, and enable any one who wishes for more information to know where to look for it, or how to appreciate it when found. Whether successful or not, it seems well worth while that an attempt should be made to interest the public in Indian architectural art ; first, because the artist and architect will certainly acquire broader and more varied views of their art by its study than they can acquire from any other source. More than this, any one who masters the subject sufficiently to be able to understand their art in its best and highest forms, will rise from the study with a kindlier feeling towards the nations of India, and a higher certainly a corrector appreciation of their social status than could be obtained from their literature, or from anything that now exists in their anomalous social and political position. Notwithstanding all this, many may be inclined to ask, Is it worth while to master all the geographical and historical details necessary to unravel so tangled a web as this, and then try to become so familiar with their ever-varying forms as not only to be able to discriminate between the different styles, but also to follow them through all their ceaseless changes ? My impression is that this question may fairly be answered in the affirmative. No one has a right to say that he under- stands the history of architecture who leaves out of his view the works of an immense portion of the human race, which has always shown itself so capable of artistic development. But, more than this, architecture in India is still a living art, practised on the principles which caused its wonderful develop- ment in Europe in the I2th and I3th centuries; and there, consequently, and there alone, the student of architecture has a chance of seeing the real principles of the art in action. In Europe, at the present day, architecture is practised in a manner so anomalous and abnormal that few, if any, have hitherto been able to shake off the influence of a false system, and to see that the art of ornamental building can be based on principles of common sense ; and that, when so practised, the result not only is, but must be, satisfactory. Those who
