( 3 ) 
As regards (a), Mrs. Speir rightly remarks that the 
picture — from the horse worship introduced into it — 
illustrates “ s. northern adaptation of the story in the 
Mahawanso, related in a Nepalese work of Avaloki- 
teswara ” who saved “ Sinhala ” (Vijaya) in the form 
of a horse. The Sinhalese have a Iwaye belonged to 
the TIinayana Lesser Vehicle ”) school of Buddhism 
which knows not Avalokiteswara, the Bodhisatva of 
the northern or ‘‘ Greater Vehicle.” Much 
the same comment applies to (6), it may equally as well 
have been based on Northern Buddhist works as taken 
from the ‘‘Mahawausa” of the Southern school — if the 
painting has anything whatever to do with the meeting 
between Mahin do and king Devanampiyatisa. 
III. “ Mr. Beli made a point of the fact that the 
Sigiriya frescoes were the only ones of the kind in 
Ceylon. I replied by saying that those of Ajanta were 
just as unique as regards India.” 
The Ajanta paintings are not “ unique ” in the sense 
of the frescoes at Sigiriya. It is true that the former- 
fas Pergusson records) ‘‘ represent Buddhist legends on 
a scale and with a distinctness found nowhere else in 
India.” But there are other frescoes which iir beauty 
of execution run them very close — if, indeed, they do 
not surpass them ; — and which prove, further, that the 
art retained its full vigour for many centuries longer 
on the Indian continent. I refer to the wonderful 
paintings to be seen at Fathpur-Sikri, near Agra, the 
“ royal abode ” of Akbar in the 16th century. Here, in 
Ceylon, we have nowhere else mural painting attaining 
the standard of art exhibited in the Sigiriya frescoes. 
Again, had Kasyspa employed Sinhalese sitiyaru to 
adorn the walls of his marvellous citadel, it may reason- 
ably be inferred that the services of the ancestors of 
the Nilagama guild of painters would have been en- 
listed ; and yet at this day no tradition even lingers 
among these hereditary craftsmasters, whose work at 
the ancient Dambulla cave temple goes back to an 
earlier date than the occupation of Sigiriya as a 
capital. Shown the Sigiriya frescoes in the “pockets” 
themselves last year, these Nilagama men declared 
their inabiiity to explain the process by which the 
colours have been permanently “ fixed,” or to at- 
tempt to “ restore ” them in any degree. 
(IV.) “ Thus, from Mr. Bell’s own standpoint, there, 
is nothing to prevent the supposition that these are 
the only existing frescoes of many that were painted, 
not only at Sigiriya but in other places as well, in 
the 5th century of the Christian era.” 
Nothing at all, as far as Sigiriya is concerned — 
but a great deal as regards “ other places ” 
throughout Ceylon. If I have examined one ancient 
cave, vihaie, &c., in the Central, North-V/esteni and 
North-Central Provinces, I have examined well nigh 
a thousand, — and any painting rivalling the art 
displayed in the Sigiriya frescoes I have still to find. 
The surface painting faintly traceable on the “ altars” 
of some of the larger Dagabas offAnuradhapura, on the 
walls of the so-called Denialamaha seya ” at Polon- 
naruwa, or in the oaves of Handagala and Dimbulagala, 
is not devoid of merit, but belongs to a lower grade of 
art than the frescoes of Ajanta and Sigiriya, 
(V). Mr. Fernando harps on the allusion in the 
“ Mahaw'ausa ” to the use of “v ermillion paint 
mixed with tala oil ” for the ornamentation of 
Buwanveli Dagaba when built by King Dntuge- 
munu (first century B. C.) ; and quotes Sir Emerson 
Tennent in support of the “ claim the discovery of oil 
painting on behalf of the Sinhalese,” upon this single 
shred of not too reliable evidence. 
Very good: let us admit for the moment that the 
honour of the discovery actually rests with the 
Sinhalese — though it really needs considerably more 
proof — ; let us go further, and assume that 
Dutugemunu did not go to the continent of 
India for his artists— as, for all the “ Mabawansa” 
tells us, he well may — what then ? fie must be 
a bold man that would assert that the descendants 
of the Sinhalese (if Sinhalese they were) who painted 
the Auuradhapura Dagaba “altars” were capable 
of designing, and carrj ing out, the life-like frescoes 
of Sigiriya. Moreover, as is well known. Oriental 
art is strongly conservative — follows slavishly stereo- 
typed forms and methods Is it probable — is it even 
possible — that the art of fresco painting should, 
among the Sinhalese, have risen to the high level of 
Sigiriya in the fifth century, and gradually degene- 
rate into the travesty which offends the eye and 
excites ridicule, at the modern Buddhist temples of 
Ceylon ? 
(VI.) “ Kasyapa was a prisoner king. Betaking 
himself to the rock-fortress of Sigiriya, he lay for 
eighteen long years in concealment, fearful of the 
vengeance of his brother Moggalana, from which he 
only escaped by the crime of suicide. It is difficult 
to understand the opportunities which this prisoner- 
king would have had to communicate with India, 
and to import therefrom exotic artists.” 
“Prisoner-king” — presumably a sort of “ ticket-of- 
leave ” Prince; allowed by the cousiderateness of a 
younger brother to have for only “ eighteen long 
years,” the run of the Island, provided he kept in 
decent “concealment.” To Kasyapa’s credit, be it 
said, be behaved exceedingly well during his 
period of “ probation ” — he committed no more 
murders— he did not worry Moggalana (who by the 
way appears to have found it “ convenient” to cross 
over to India, so as not to embarrass his elder brother 
in the least) — he merely amused himself by erecting, 
at vast labour and expense, a magnificent royal citadel, 
— just to show what “ honest concealment' meant,” 
of course, under such conditions, intercourse with 
India would be quite impossible. 
(VII.) “ The presumption of exotic artists would 
imply that painting was the only art in which the 
ancient Sinhalese were lacking, great as they admit- 
tedly were in sculpture, architecture, engineering, &c.” 
This opens up a far wider question ; and one that 
must not be “ begged.” Is Mr. Fernando prepared 
to prove that the Sinhalese were “ great” in “ sculp- 
ture, architecture, &c.” ? Will he favour the Asiatic 
Society with a paper on : — “ The chanicteristics of 
the Sinhalese style of ancient architecture, as distinct 
from the Buddhistic and Dravidian styles found in 
India” ? I do not say the task is impossible ; but it 
is not to be undertaken hastily. At present there 
is much ground for the supposition that the Sinha- 
lese kings imported shilled artisans from the continent 
to execute very many of the ancient monumeEts of 
Anuradhapura, Polonnaruwa, &c., commonly attributed 
to the Sinhalese. Few are the forms of building and 
sculpture which cannot be easily traced to an Indian 
source. — Tours faithfully, H. C. P. BELL. 
Anuradhapura, Jan. 22. 
A Portuguese Cliurcli in 
Batavia- 
Interesting Notes of days of old— 200 
YEARS AGO : 
Portuguese vs. Dutch in the East. 
Mit oud-Batavia De Portugeesche Buiten keek ; 
(G. Kolff & Co., Batavia.) 
The above is the title of a little book, written by Dr. F. 
de Haan, published, as tiie title page indicates for the 
benefit of the fund for the restoration of the Church. 
As the name {Buiten kerh), indicates, the church 
stands outside the ouden wal (the old rampart) and, 
according to the writer, is fully worth a visit. ‘‘ You 
enter through a gate, the church yard, surrounded, as 
‘ at home,’ with a wall. A paved way leads one, past 
tombs covered with tombstones, to the chief entrance. 
You enter, to leave behind you, India and all that is, 
and will remain strange to you. Ton are on your 
native land.” 
“ . . . . Those seats along the wall, they are the same 
v/here you have often sat as a child. The seats in the nave 
of the church, many a Sunday have you seen ■ ell known 
face», singing there, out of the psalm book. Tour eyes 
fall on ti,e many coloured hatchments on the wall, and 
one which records the date of the building, 1695. 
