As single edifices illustrating the beauty of Jain art both in grace of design and patient elaboration of workmanship may be mentioned the Towers of Fame and Victory at Chitore, and the temples of Mt Abu. Some differences of style are visible in north and south India. In the former the essential features are a shrine with a portico attached and surmounted by a conical tower, the whole placed in a quadrangular court round which are a series of cells or chapels containing images seated on thrones. These are the Tîrthankaras, almost exactly alike and of white marble, though some of the later saints are represented as black. The Śvetâmbaras represent their Tîrthankaras as clothed but in the temples of the Digambaras the images are naked. In the south are found religious monuments of two kinds known as Bastis and Bettus. The Bastis consist of pillared vestibules leading to a shrine over which rises a dome constructed in three or four stages. The Bettus are not temples in the ordinary sense but courtyards surrounding gigantic images of a saint named Gommateśvara who is said to have been the son of the first Tîrthankara[288]. The largest of these colossi is at Sravana Belgola. It is seventy feet in height and carved out of a mass of granite standing on the top of a hill and represents a sage so sunk in meditation that anthills and creepers have grown round his feet without breaking his trance. An inscription states that it was erected about 983 A.D. by the minister of a king of the Ganga dynasty[289]. But even more remarkable than these gigantic statues are the collections of temples found on several eminences, such as Girnar and Satrunjaya[290], mountain masses which rise abruptly to a height of three or four thousand feet out of level plains. On the summit of Satrunjaya are innumerable shrines, arranged in marble courts or along well-paved streets. In each enclosure is a central temple surrounded by others at the sides, and all are dominated by one which in the proportions of its spire and courtyard surpasses the rest. Only a few Yatis are allowed to pass the night in the sacred precincts and it is a strange experience to enter the gates at dawn and wander through the interminable succession of white marble courts tenanted only by flocks of sacred pigeons. On every side sculptured chapels gorgeous in gold and colour stand silent and open: within are saints sitting grave and passionless behind the lights that burn on their altars. The multitude of calm stone faces, the strange silence and emptiness, unaccompanied by any sign of neglect or decay, the bewildering repetition of shrines and deities in this aerial castle, suggest nothing built with human purpose but some petrified spirit world.