162 



V. A. Smith — Grmco-Roman influence 



[No 3, 



very like these, though differing in detail, were executed iu various parts 

 of the Romau world during the third aud fourth centuries. 



The fact, (according to Sir A. Cunningham's measurements), that 

 the only two Indo- Corinthian bases of columns yet discovered do not 

 differ widely from the bases of the pillars in the Choragic monument of 

 Lysicrates, which was erected in B. C. 33-i, does not render credible the 

 supposition that capitals similar to Romau work of the Autouine period 

 were executed at the beginning of the Christian era. 



Mr. Pergusson described the Jamalgarlri capitals as being " more 

 Greek than Roman in the character of their foliage, but more Roman 

 than Greek in the form of their volutes and general design. Perhaps," 

 he added, " it would be correct to say they are more Byzantine than 

 either, but, till we have detailed drawings, and know more of their 

 surroundings, it is difficult to give a positive opinion as to their age."* 



The great critic, with the imperfect materials at his command, 

 might have felt a difficulty in deciding whether a given specimen was 

 to be dated from A. D. 200 or 400, bat he had no difficulty in seeing 

 the strong Roman element which exists in all the specimens. Mr. 

 Freeman has more than once called attention to the remarkable cir- 

 cumstance that human figures are inserted among the acanthus foliage of 

 the Corinthian capitals in the ruins of the Baths of Caracalla at Rome. 



"The artist," he observes, "has been so far from confining him- 

 self to one prescribed pattern, either of volutes or acanthus leaves, that 

 he has ventured to employ vigorously carved human or divine jig urea as 

 parts of the enrichment of his capitals. "f 



Similar figures, employed just in the same way, occur in some of 

 the Indo- Corinthian capitals from Jamalgarhi, and are described by their 

 discoverer as follows : — 



" The human figures, which are introduced in the spaces between 

 the acanthus leaves, are all small, and do not interfere in the least 

 degree with the treatment of the foliage. When there is only one 

 figure, it is always that of Buddha, either sitting or standing, and, when 

 there are three figures, the middle one is of Buddha, and the others are 

 attendant Arhaus. These figures are never obtrusive, aud they aro 

 always so placed that, to my eye, they harmonize most agreeably with 

 the surrounding and overhanging foliage. "J 



* History of Indian and Eastern Architecture, p. 17-i. 



t The quotation is copied from Cunningham, Aruhaol Rep., Vol. V, p. 193, 

 where the original ia said to be in an essay by Mr Freeman published in Macmillan'a 

 Magazine ; but no osact reference ia given. Mr. Freeman alludes briefly to the 

 subject in his separately published ossays on Italian architecture. 



% Cunningham, Arehccal Hep., Vol, V, p. 193. On the same page the author 

 makes an unfortunate slip, and places Caracalla " in the beginning of the first centiuy 



