=Remains at Nādol.=—It is impossible to do full justice to the architectural remains, which are well worthy of the pencil. Here everything shows that the Jain faith was once predominant, and that their arts, like their religion, were of a character quite distinct from those of Siva. The temple of Mahavira, the last of their twenty-four apostles, is a very fine piece of architecture. Its vaulted roof is a perfect model of the most ancient style of dome in the East; probably invented anterior to the Roman. The principle is no doubt the same as the first substitute of the arch, and is that which marked the genius of Caesar in his bridge over the Rhone, and which appears over every mountain torrent of the ancient Helvetii, from whom he may have borrowed it.[4.26.39] The principle is that of a horizontal instead of a radiating pressure. At Nadol the stones are placed by a gradual projection one over the other, the apex being closed by a circular key-stone. The angles of all these projections being rounded off, the spectator looking up can only describe the vault as a series of gradually diminishing amulets or rings converging to the apex. The effect is very pleasing, though it furnishes a strong argument that the Hindus first became acquainted with the perfect arch through their conquerors. The _toran_, in front of the altar of Mahavira, is exquisitely sculptured, as well as several statues of marble, discovered about one hundred and fifty years ago in the bed of the river, when it changed its course. It is not unlikely that they were buried during Mahmud’s invasion. But [698] the most singular structure of Nadol is a reservoir, called the _chana ki baoli_, from the cost of it being paid by the return of a single grain of pulse (_chana_). The excavation is immense; the descent is by a flight of grey granite steps, and the sides are built up from the same materials by piling blocks upon blocks of enormous magnitude, without the least cement.