This wonderful excavation at Kārle is one of the most magnificent monuments of ancient Buddhism, and one of the most interesting examples of early Buddhistic art to be seen anywhere in India. And, more than this, it is probably one of the most striking places of congregational worship to be seen anywhere in the world. Of course these rock-excavated churches soon developed into temples (Vihāras) built of stone or brick, some of which were of a monumental character, like that at Buddha-Gayā, already described (see p. 390), while others were unpretending structures near villages, where the laity could repeat their prayers or make offerings. Others, again, formed the most important edifice among the group of buildings constituting a monastery. The village temples might more suitably be called chapels. All have some features in common. At the further end of a dimly-lighted room is an altar of stone or wood. On this are placed the idols, and around them are arranged vases and cups, in which the offerings of the laity are deposited. The larger edifices have vestibules, and at the entrance are generally rude images of the four great kings (p. 206), who are supposed to be the guardians of Buddhism (p. 206), while inside there are sculptures, frescoes, and pictures illustrative of the various births and transmigrations of the Buddhas and Bodhi-sattvas. In the precincts is always to be found a Bodhi-tree (Bo-tree, p. 519), if the climate and soil will admit of its being reared. The greater number of sacred structures, however, even those of a more important kind and more entitled to be called temples, are mere square or oblong rectangular buildings, without architectural design or ornamentation. In Ceylon I visited a temple of this kind on the shore of the Kandy lake. It consisted of a large bare room or small hall, at the further end of which was a curtain concealing a highly venerated image of the Buddha. The attendant drew aside the curtain and showed us the image, which had representations of rays of light issuing from all parts of his body, as well as five rays emerging from the crown of his head. In the enclosure or ‘compound’ of the temple, was a bell-shaped Dāgaba or relic-shrine of solid brick-work, covered with Chunam, and having a receptacle for lights in front of it. Close at hand was the usual sacred Pīpal-tree.