212 Journal of the Asiatic Society of Bengal. [N.S., XIII, 



open circumambulator passage. The hall has a flat roof 

 resting on sixteen pillars, twelve of which are peripherical and 

 four central. The four central pillars and the two pillars in 

 front of the cellar are of the ghatapallava style, i.e. charac- 

 terized by the water-pot and foliage ornament, but the pattern 

 of the two posterior central pillars differs somewhat from that 

 of the other four. The peripherical pillars are of the sridhara 

 style, but they are so overcoated with plaster that it is not 

 possible to say whether they have any carvings or not. On 

 one of the central pillars there is engraved the figure of a man 

 in a sitting posture, which the local tradition identifies with the 

 Nawab of Nagora. The floor of the porch is connected with 

 the platform by a flight of eight steps. 



The pillar in front of the cellar to the proper left is inscribed 

 on two faces. On the frontal face it bears a small inscription 

 of a single line, in part illegible, but evidently containing only 

 a name, either of a donor or of some visitor. This is the 

 following : — 



1. tf#M t*T *(?)-*--(?)* -I (?) 



On the left face, it bears an inscription of three lines, covering 

 a space of 3" high by 9£" broad. The inscription is dated 

 in the year Sam vat 1229, and refers to the temple of Susanevi, 

 i.e. SusanI, but its precise object is not quite clear. The 

 meaning of bhoi is unknown to me. Laliini (for lahina, fern.) 

 is used in MS. 12, (g) of Descr. Cat., Sect, i, p. i, in the meaning 

 of i: public elargition (?)." Apparently, the inscription records 

 some perpetual (javajim) elargition made by a woman come 

 from Sehalakota. As the inscription does not seem to contain 

 the name of the donor. I wonder if she is to be identified with 

 the SonI Deva of the small inscription mentioned above 

 Possibly, the two inscriptions are connected with one another 

 and the one containing the name Son! Deva simply represents 

 the signature of the donor to the grant recorded in the other 

 inscription. Above the latter inscription there is a sculpture 

 representing a woman standing, evidentlv the donor herself. 

 I give below the text of the inscription, which is in corrupt 

 Sanskrit mixed with Bhasa :— 



* 



1 For references to Son! (Banias), see Jalora Stone Inscription of 

 Samanta Simhadeva, Samvat 1353, in Ep. Ind.\ XI, No. 4, p. 61. 



2 Represented by a symbol. 



3 In this case only, the e is indicated by a matra placed before the 

 ra in the archaic way. 



aksara in the archaic way. 

 * Apparently: y^ 



^umx 



