The next chaitya cave in this series (No. 19) is separated from these two by a very long interval of time. Unfortunately, no inscription exists upon it which would assist in assigning it any precise date; but it belongs to a group of viharas, Nos. 16 and 17, whose date, as we shall afterwards see, can be fixed with tolerable certainty as belonging to the 5th century of our era. The cave itself, as will be seen from the plan (Woodcut No. 59), is of the smallest size, nearly the same as No. 9, or 46 ft. 4 in. by 23 ft. 7 in., and its arrangements do not differ much, but its details belong to a totally different school of art. All trace of woodwork has disappeared, but wooden forms are everywhere repeated in stone, like the triglyphs and mutules of the Doric order, long after their original meaning was lost. More than this, painting in the interval had to a great extent become disused as a means of decoration, both internally and externally, and sculpture substituted for it in all monumental works; but the greatest change of all is that Buddha, in all his attitudes, is introduced everywhere. In the next woodcut (No. 60)--the view of the façade--it will be seen how completely figure-sculpture had superseded the plainer architectural forms of the earlier caves. The rail ornament, too, has entirely disappeared; the window heads have been dwarfed down to mere framings for masks; but, what is even more significant than these, is that from a pure theism or rather atheism we have passed to an overwhelming idolatry. At Karli, the eight figures that originally adorned the porch are chiefs with their wives, in pairs. All the figures of Buddha that appear there now are long subsequent additions. None but mortals were sculptured in the earlier caves, and among these mortals Sakya Muni nowhere appears. Here, on the contrary, he is Bhagavat--the Holy One--the Deity--the object of worship, and occupies a position in the front of the dagoba or altar itself (Woodcut No. 61, p. 126), surmounted by the triple umbrella and as the Numen of the place. [Illustration: 60. View of Façade, Chaitya Cave No. 19 at Ajunta. (From a Photograph.)] At a future stage of our inquiries we may be able to fix more nearly the time in which this portentous change took place in Buddhist ritual. For the present it is sufficient to remark that images of Buddha, and their worship, were not known in India in the 1st century of our era, and that the revolution was complete in the 5th century.