arrangement and dimensions are very similar to those of the choir of Norwich Cathedral, or of the Abbaye aux Hommes at Caen, omitting the outer aisles in the latter buildings. The thickness of the piers at Norwich and Caen nearly corresponds to the breadth of the aisles in the Indian temple. In height, however, Karli is very inferior, being only 42 ft. or perhaps 45 ft. from the floor to the apex, as nearly as can be ascertained. Fifteen pillars on each side separate the nave from the aisles; each pillar has a tall base, an octagonal shaft, and richly ornamented capital, on which kneel two elephants, each bearing two figures, generally a man and a woman, but sometimes two females, all very much better executed than such ornaments usually are. The seven pillars behind the altar are plain octagonal piers, without either base or capital, and the four under the entrance gallery differ considerably from those at the sides. The sculptures on the capitals supply the place usually occupied by frieze and cornice in Grecian architecture; and in other examples plain painted surfaces occupy the same space. Above this springs the roof, semicircular in general section, but somewhat stilted at the sides, so as to make its height greater than the semi-diameter. It is ornamented even at this day by a series of wooden ribs, probably coeval with the excavation, which prove beyond the shadow of a doubt that the roof is not a copy of a masonry arch, but of some sort of timber construction which we cannot now very well understand. Immediately under the semidome of the apse, and nearly where the altar stands in Christian churches, is placed the dagoba, in this instance a plain dome slightly stilted on a circular drum. As there are no ornaments on it now, and no mortices for woodwork, it probably was originally plastered and painted, or may have been adorned with hangings, which some of the sculptured representations would lead us to suppose was the usual mode of ornamenting these altars. It is surmounted by a Tee, the base of which is similar to the one shown on Woodcut No. 13, and on this still stand the remains of an umbrella in wood, very much decayed and distorted by age.