As before mentioned, the central group of the four oldest caves at Ajunta forms the nucleus from which the caves radiate north and south--eight in one direction, and fourteen in the other. It seems, however, that there was a pause in the excavation of caves after the first great effort, and that they were then extended, for some time at least, in a southern direction. Thus caves Nos. 13 to 20 form a tolerably consecutive series, without any violent break. After that, or it may be contemporaneously with the last named, may be grouped Nos. 8, 7, and 6; and, lastly, Nos. 21 to 26 at one end of the series, and Nos. 1 to 5 at the other, form the latest and most ornate group of the whole series.[190] As above explained of the central four, three are certainly anterior to the Christian Era. One, No. 10, being transitional in some of its features, may belong to the 1st century, and be consequently contemporary with the gateways at Sanchi. After this first effort, however, came the pause just alluded to, for Nos. 13, 14, and 15, which are the only caves we can safely assign to the next three centuries, are comparatively insignificant, either in extent or in richness of detail. Leaving these, we come to two viharas, Nos. 16 and 17, which are the most beautiful here, and, taken in conjunction with their paintings, probably the most interesting viharas in India. No. 16 is a twenty-pillared cave, measuring about 65 ft. each way (Woodcut No. 83, p. 154), with sixteen cells and a regular sanctuary, in which is a figure of Buddha, seated, with his feet down. The general appearance of the interior may be judged of by the following woodcut (No. 84) in outline, but only a coloured representation in much [Illustration: 83. Plan of Cave No. 16, at Ajunta. (From a Plan by Mr. Burgess.) Scale 50 ft. to 1 in.] [Illustration: 84. View of Interior of Vihara No. 16, at Ajunta. (From a Sketch by the Author.)] greater detail could give an idea of the richness of effect produced by its decoration. All the walls are covered with frescoes representing scenes from the life of Buddha, or from the legends of saints, and the roof and pillars by arabesques and ornaments, generally of great beauty of outline, heightened by the most harmonious colouring. [Illustration: 85. View in Cave No. 17, at Ajunta. (From a Photograph.)]