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by nerves; a celestial spirit like a gentle stream circulates over the 
contour of the figure.” Certainly my first impressions on behold- 
ing this master-piece of art, surpassed those excited by the 
Venus di Medici, in her velvet tribune, at Florence; and greater 
than either was the effect of the Laocoon. The agony expressed in 
the countenance, and strongly marked by every vein and muscle 
stretched and swelling over the body, especially in the feet, admi- 
rably display the power and excjuisite skill of the artist. 
Nothing of this kind is observable in the Elephanta; among 
many thousand figures, few of the countenances express any par- 
ticular passion, or mark a decided character: they have generally 
a sleepy aspect, and bear a greater resemblance to the tame sculp- 
ture of Egypt than the animated works of the Grecian chisel. 
The columns at the Elephanta are of a singular shape, and in 
all respects differ from the beautiful orders of ancient Greece: the 
shafts are massive in proportion to their height; the large capitals, 
swelling over the ornaments, give the appearance of pressure 
by the superincumbent mountain; a form appropriate to their 
function in this wonderful work. 
From the right and left avenues of the principal temple are 
passages to smaller excavations on each side: that on the right is 
much decayed, and very little of the sculpture remains entire; a 
pool of water penetrates from it into a dark cavern far under the 
rock; whether natural or artificial is not determined. A small 
corresponding temple on the left side, contains two baths, one of 
them elegantly finished: the front is open, and the roof supported 
by pillars of a different order from those in the large temple; the 
sides are adorned with sculpture, and the roof and cornice painted 
