152 Lieut.-Colonel Tov’s Comparison of the Hindu and Theban Hercules. 
and the fair object of his passion from being crushed under the impending 
ruin, he strained his gigantic force, and supported the fabric on his 
shoulders, till he was released by the attendant protectors of the fair. To 
commemorate the infamy of the forester, who thus violated the laws of 
sanctuary (sérna) and hospitality, the Si/pis or architects have “par ordon- 
nance” adopted this relation in all sacred edifices, where a diminutive and 
grotesque figure of Gulachuc, with arms and legs extended under him, the 
head stooping and face distorted, as from a sense of oppression, ornaments 
the capitals of columns which support entablatures.* 
The meritorious conduct of the valorous band, the services they per- 
formed in return for the protection afforded them in the various countries 
they perambulated, obtained them abundant auxiliaries; and having com- 
pleted the term of their banishment, they emerged from their retreats, and 
returning to the ‘ Sable Yamuna,” t+ demanded to participate in their 
* Those who wish to see a representation of Gutachuc may be gratified, in examining that fine 
composition in the last number of Captain Grindlay’s “ Scenery, &c. of Western India ;” a work 
which evinces his love for the arts, in preserving from the universal destroyer some of the finest 
specimens of Hindu and Mahommedan art yet existing. The site of the edifice whence these 
columns were delineated is in the very heart of the scenes we describe. To judge of the uni- 
formity of this emblematic Gutachuc, I may draw the reader's attention to similar columns of 
great antiquity in the ruins of Chandravati. (See Annals of Rajast’han, vol. i. p. 574.) 
The curious in old Saxon or Gothic architecture have only to look at those grotesque embel- 
lishments of columns for the representations of Gutachuc, not the only ornament common to the 
old temples of the Getic races of Europe, and the Indo-Scythic races of the East. Those speci- 
mens of tortuous imagination which decorate the oldest European churches, as Falaise in 
Normandy, Moissac in Languedoc, Poitiers, and many others in France; of Monza and Padua 
in Italy ; of the German churches, where what is called the “style Byzantin” prevails; and our 
own Saxon monuments of England, might be transferred to some of the ancient Hindu temples 
without violation of uniformity. 
The term Gothic is by no means misapplied, confined to the decorations of this style of archi- 
tecture, and obtaining in all these edifices at the period the Gothic races simultaneously over- 
ran Europe, indicates some original source (ex. gr. Pali temple of Ajmere, Annals of Rajasthan), 
To the kingdom of Vizigoths, or Eastern Getes, from the Ebro to the Loire, of which Toulouse 
was the capital, may be ascribed the Asiatic character of the sculptures observed in some of these 
temples; while to the same Getic race, whether Kimbri, Longobardi or Saxon, may be assigned 
those of Normandy, Northern Italy, and England. Hence the term Gothic means the corruption 
of the purer Roman style, by the incorporation not so much of the principles of Getic architec- 
tural art, as the super addition of their barbarous mythological decorations. 
+ The Yamuna is named after the sister of the Hindu Pluto, Yama. Hence its funereal qualities, 
It is also called Kali-nadi, the ‘ black river,” the Kalindi of the Greeks, and contracted to “ Kali-de” 
