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most profound veneration, and of whom they had the most sub- 
lime conceptions. The middle head represents Brahma, or the 
creative attribute; that on the left Vishnu, or the preserving; and 
the head on the right, Siva, or the destructive or changing attri- 
bute. The figure with one breast appears to be a representation 
of the consort of Siva exhibiting the active power of her lord, 
not only as Bawani, or courage, but as Isani, or the goddess of 
nature, considered as male and female, and presiding over gene- 
ration, and also as Durga. Here we find the bull of Iswara (one 
of Siva’s names), and the figure bearing his trisule or trident. The 
beautiful figure on the elephant is Cama, or the Hindoo god of love; 
the figure with four heads supported by birds, is a representation 
of Brahma, and that with four arms mounted on the shoulders of 
another, is Vishnu. The two principal figures in the niche to the 
left, represent, perhaps, Siva and his goddess as Parvati, with 
Brahma and Vishnu in the back ground. 
The terrific figure with eight arms has been supposed by some 
to represent Solomon threatening to divide the harlot’s child; 
others suppose it to be the tyrant Cansa attempting the life of the 
infant god Crishna when fostered by the herdsman Ananda. But 
in this, the third attribute, or the destroyer in action, is too well 
represented to be mistaken: the distant scene, where the smaller 
figures appear in distress and pain, is perhaps the infernal 
regions. The figures, male and female, sitting, with a bull couch- 
ing at the feet of the former, are Siva and his goddess; and thus 
they are represented in the temples of the present day. The figure 
with the human body and elephant’s head, cannot be mistaken 
for any other than Ganesa, the Hindoo god of wisdom, and the 
