The dimensions of this cave are considerable, 85 ft. by 43 ft., and the inner end is entirely blocked up by the dagoba which, instead of being circular as in all the older examples, has a frontispiece attached to it larger than that in cave No. 19 at Ajunta, which, as shown in Woodcut No. 60, makes it square in front. On this addition is a figure of Buddha seated with his feet down, and surrounded by attendants and flying figures in the latest style of Buddhist art. In the roof, all the ribs and ornaments are cut in the rock, though still copied from wooden prototypes, and the triforium has sculptured figures as in Nos. 19 and 26 of Ajunta. Its most marked characteristic, however, is the façade, where for the first time we miss the great horseshoe opening, which is the most marked feature in all previous examples. We can still trace a reminiscence of it in the upper part of the window in the centre (Woodcut No. 63, p. 128); but it was evidently considered necessary, in this instance, to reduce the size of the opening, and it is easy to see why this was the case. At Bedsa, Karli, Kenheri and elsewhere, there was a verandah or porch with a screen in front of the great window, which prevented the direct rays of the sun from reaching it, and all the older caves had wooden screens, as at Karli, from which curtains could be hung so as to modify the light to any desired extent. At Ellora, no screen could ever have existed in front, and wooden additions had long ceased to be used, so that it consequently became necessary to reduce the size of the opening. In the two later chaityas at Ajunta, this is effected by simply reducing their size. At Ellora it was done by dividing it. If we had the structural examples in which this change was probably first introduced, we might trace its progress; but, as this one is the only example we have of a divided window, we must accept it as one of the latest modifications of the façades of these chaityas. Practically, it may be an improvement, as it is still sufficiently large to light the interior in a satisfactory manner; but artistically it seems rather to be regretted. There is a character and a grandeur about the older design which we miss in this more domestic-looking arrangement, though it is still a form of opening not destitute of beauty. [Illustration: 63. Façade of the Viswakarma Cave at Ellora. (From a Photograph.)] Owing to the sloping nature of the ground in which it is excavated this cave possesses a forecourt of considerable extent and of great elegance of design, which gives its façade an importance it is not entitled to from any intrinsic merit of its own. KENHERI.