Dr. B. G. BABI^'G ton's Account of Sculptures, ^c. at MaMmalaipur. 2G 1 



their hands and feet. The pecuHar practice of carrying the infant on the 

 hip, which cannot fail to attract tlie notice of Europeans at the present day, 

 was then in use ; and even the vertical arrangement and method of tying 

 together the three earthen vessels here represented, is recognized by all 

 Hindu visitors as being universally adopted by the modern Gopdlas. The 

 execution of this work is coarse, and tlie design rude ; and though par- 

 ticular parts have much merit, yet the limbs of the principal figures are 

 clumsy and ill-proportioned, the attitudes forced, and the countenances 

 without expression. 



Greatly superior is the skill displayed by the artists employed in the 

 excavation described by Mr. Goldingham in his fifth paragraph ; but even 

 here, under the same roof, there is much inequality in the execution of 

 the different subjects. The central compartment (see PL 3, No. i), and 

 that on the left on entrance (see PL 3, No. 2) are tame performances, 

 compared with the very spirited representation of Durga seated on her 

 lion, and attacking Mahesasuu, which occupies the right compartment. 

 (See PL 4:) I have no hesitation in pronouncing this to be the most 

 animated piece of Hindu sculpture which I have ever seen ; and I would 

 venture to recommend that a caste of it should, if possible, be taken for 

 this Society. In the mean time, a tolerably just notion may be formed of its 

 merits from the excellent and accurate dehneation of Mr. Hudleston. 



Tiie smaller temple, which Mr. Goldingham mentions as placed at a 

 considerable elevation above that just alluded to, and wrought out of a 

 single mass of rock, is so rich in sculpture and ornament, and occupies so 

 picturesque and sequestered a spot, that it is surprising he should have 

 passed it over with so slight a notice. This excavation is in form a paral- 

 lelogram, open on one of the longer sides, where it is supported on two 

 columns. It contains four large compartments or panels of sculpture ; 

 namely, one at each end, and one on each side of the central recess opposite 

 the entrance ; besides two niches occupied by Dwarapalas. The Varaha 

 AvATARA represented in Plate 5, is placed at the left end of the chamber. 

 Plate 6, the subject of which seems to be some incarnation of Vishnu, 

 fills the compartment at the opposite end. On the right of the recess a 

 female deity appears, surmounted by an umbrella (see PL 7, No. 1 ) ; 

 whilst on the left is a female figure seated on a lotus throne, and attended 

 by damsels who bear water-pots, to be discharged in turn over her head 

 by the elephants seen in the back-ground (see PL S.) The position of 



