I reposed in meditative indolence, overwhelmed with the recollections such scenes inspire. In a recess or cave is a rude altar sanctified by the name of Nahar Rao, the famed king of Mandor, who met in equal combat the chivalrous Chauhan in the pass of the Aravalli.[4.27.24] A Nai, or barber, performs worship to the manes of this illustrious Rajput, in whose praise Chand is most eloquent. Whence the choice of a barber as a priest I know not; but as he has the universal care of the material portion of the Rajput, being always chosen as the cook, so there may be reasons for his having had an interest in the immaterial part in olden days, the tradition of which may have been lost. There is a piece of sculpture containing nine figures, said to represent Ravana, who came from “th’utmost isle Taprobane,”[4.27.25] to marry the daughter of the sovereign of Mandor. There was a lengthened legend to account for the name of Nagda, or, ‘serpentine,’ being applied to the [729] rivulet, but it is too long to relate. We must therefore quit the fountain, where the gallant Prithiraj and his fair bride, the cause of strife between the Chauhans and Pariharas, may have reposed, and visit the most remarkable relic within the precincts of this singular place. [Illustration: CHĀMUNDA. KANKĀLI. Rock Sculptures at Mandor. _To face page 842._ ] =Images of Heroes.=—A short distance from the foot of the causeway, an archway opens into an enclosed court or area, in the retired part of which, and touching the mountain, is an extensive saloon; the roof is supported by a triple row of columns, of that light form peculiar to the Jains. Here are displayed, in all “the pomp and circumstance of war,” the statues of the knights-errant of the desert, armed cap-à-pie, bestriding steeds whose names are deathless as their riders’, all in the costume of the times in which they lived. They are cut out of the rock, but entirely detached from it, and larger than life. Though more conspicuous for strength than symmetry, the grim visages of these worthies, apparently frowning defiance, each attended by his pandu or squire, have a singularly pleasing effect. Each chieftain is armed with lance, sword, and buckler, with quiver and arrows, and poniard in his girdle. All are painted; but whether in the colours they were attached to, or according to the fancy of the architect, I know not. Before, however, entering this saloon, we pass a huge statue of Ganesa, placed as the guardian of the portal, having on each side the two Bhairavas, sons of the god of war. Then appears the statue of Chamunda (the goddess of destruction), and that of the terrific mother, Kankali, treading on the black demon Bhainsasur, in whose flank her tiger-courser has buried his bloodthirsty tongue: in each of her eight arms she holds a weapon of destruction. The black Bhairon (son of Time), with a sable flag, bearing argent a horse courant, marshals the way through the field of blood to his mother.