exli Archeological Survey Report. 
both in Ladak and in Burmah are covered with figures of Buddha. 
This also, we know from Hwen Thsang’s account was the style of 
the walls of the great vihar in the Deer Park at this very place, and 
a similar style of ornamentation prevailed both at Buddha Gaya and 
at Nalanda. Outside the walls also I found a great number, about 50 
or 60, of large deeply carved stones, which had once formed part of 
a magnificent frieze, with a bold projecting cornice. The face of the 
frieze was ornamented with small figures of Buddha seated at 
intervals in peculiar shaped niches, which I have traced from the 
rock hewn caves of Dhamnar in Malwa to the picturesque but 
fantastic Kyoungs of Burmah. <A few of these stones may now be 
seen in the grounds of the Sanskrit College at Benares. As I found 
no traces of burnt wood, I am inclined to believe that the roof of the 
building was pyramidal, and that the general appearance of the 
edifice must have been strikingly similar to that of the great temple 
of Brambanan, depicted in the 2nd volume of Ratfiles’s Java. 
260. Whilst engaged in excavating the walls of this temple, I was 
informed by Sangkar, Rajbhar of Singpur, the same man who had 
pointed out to me the position of the relic box in Jagat Singh’s séupa, 
that whilst he was engaged in digging materials for Jagatganj, the 
workmen had come upon a very large number of statues, all collected 
together ina small building. The walls were pulled down and the 
bricks were carried away, but the statues were left untouched in 
their original position. JI at once commenced an excavation on the 
spot pointed out by Sangkar, which was only a few feet to the north 
of the temple just described. At a depth of 2 feet below the surface, 
I found about 60 statues and bas-reliefs in an upright position, all 
packed closely together within a small space of less than 10 feet 
square. The walls of the building in which they had been thus 
deposited had been removed, as stated by Sangkar, but the remains 
of the foundation showed a small place of only 11 feet square out- 
side. I made a selection of the more perfect figures, which, together 
with the bas-reliefs, I presented to the Asiatic Society. A sketch of 
the principal bas-relief, which represents the four great events in the 
eareer of Sakya Muni, has been published as Plate 1 of M. Foucaux’s 
translation of the Tibetan history of Buddha. A second bas-relief 
represents the same four scenes, but on asmaller scale. A third bas- 
relief, which gives only three scenes, omitting the Mirvdna, has a 
short inscription below in two lines, which records the sculpture to 
