The beauty of Jainism finds its best expression in architecture. This reached its zenith both in style and quantity during the eleventh and twelfth centuries which accords with what we know of the growth of the sect. After this period the Mohammedan invasions were unfavourable to all forms of Hindu architecture. But the taste for building remained and somewhat later pious Jains again began to construct large edifices which are generally less degenerate than modern Hindu temples, though they often show traces of Mohammedan influence. Hathi Singh's temple at Ahmadabad completed in 1848 is a fine example of this modern style. There is a considerable difference between Jain and Buddhist architecture both in intention and effect. Jain monks did not live together in large communities and there was no worship of relics. Hence the vihâra and the stûpa—the two principal types of Buddhist buildings—are both absent. Yet there is some resemblance between Jain temples (for instance those at Palitâna) and the larger Burmese sanctuaries, such as the Shwe Dagon Pagoda. It is partly due to the same conviction, namely that the most meritorious work which a layman can perform is to multiply shrines and images. In both localities the general plan is similar. On the top of a hill or mound is a central building round which are grouped a multitude of other shrines. The repetition of chapels and images is very remarkable: in Burma they all represent Gotama, in Jain temples the figures of Tîrthankaras are nominally different personalities but so alike in presentment that the laity rarely know them apart. In both styles of art white and jewelled images are common as well as groups of four sitting figures set back to back and facing the four quarters[286]: in both we meet with veritable cities of temples, on the hill tops of Gujarat and in the plain of Pagan on the banks of the Irawaddy. As some features of Burmese art are undoubtedly borrowed from India[287], the above characteristics may be due to imitation of Jain methods. It might be argued that the architectural style of late Indian Buddhism survives among the Jains but there is no proof that the multiplication of temples and images was a feature of this style. But in some points it is clear that the Jains have followed the artistic conventions of the Buddhists. Thus Pârśvanâtha is sheltered by a cobra's hood, like Gotama, and though the Bo-tree plays no part in the legend of the Tîrthankaras, they are represented as sitting under such trees and a living tree is venerated at Palitâna.