That this was so is proved by those coins which bear on their reverse such Hindoo symbols as Siva with his bull, and on their obverse Greek inscriptions, and by the remains of what is now called Græco-Buddhic art, an art which seems to have flourished in the upper valley of the Indus in the third or second century before our era. These remains, formerly much neglected, are now attracting much attention. They have been carefully studied and described by Cunningham[32]; Dr. Curtius has described them and published reproductions of the most curious among them.[33] They are found in the north of the Punjab upon a few ancient sites where excavations have been made. Some of them have been transported to Europe in the collection of Dr. Leitner, while others remain in the museums of Peshawur, Lahore, and Calcutta.[34] In those sacred buildings which have been examined the plan of the Greek temple has not been adopted, but the isolated members of Greek architecture and the most characteristic details of its ornament are everywhere made use of. It is the same with the sculpture; in the selection of types, in the arrangement of drapery, in the design, there is the same mixture of Greek taste with that of India, of elements borrowed from foreign, and those drawn from the national, beliefs. The helmeted Athené and Helios in his quadriga figure by the side of Buddha. [32] _Archæological Survey of India_, 3 vols. 1871-73. [33] _Archæologische Zeitung_, 1876, p. 90. _Die Griechische Kunst in Indien._ [34] The Louvre has lately acquired some curious examples of this art. Traces of the same influence are to be found in a less marked degree in other parts of India. Near the mouth of the Indus and upon the Malabar coast, the native sculptors and architects were able to obtain more than one useful suggestion, more than one precious hint as to their technique, from the works of art brought in the ships of maritime traders. It is even possible that Greek workmen may thus have been introduced into seaport towns, and there employed upon the decoration of palaces and temples. However this may be it is incontestable that all the important sacred edifices of that region, whether stone-built or carved in the living rock, date from a period more recent than that of Alexander, and that most of them show details which imply acquaintance with Greek architectural forms and their imitation. We are thus on all hands forced to this conclusion: that, in the domain of the plastic arts, Greece owed nothing to India, with which she made acquaintance very late and at a period when she had no need to take lessons from others. That, moreover, India had little or nothing to give; that her arts were not developed till after her early relations with Greece, and it would even seem that her first stimulus was derived from the models which Greece put within her reach. * * * * *