Two of the topes are of the largest size known: one, the Abhayagiri, was erected B.C. 88; its dome is exactly hemispherical, and described with a radius of 180 ft., being thus more than 1100 ft. in circumference, and with the base and spire making up a total elevation of 244 ft., which is only 16 ft. less than the traditional height of 120 cubits assigned to it in the ‘Mahawanso.’[231] It was erected by a king Walagambahu, to commemorate his reconquest of his kingdom from a foreign usurper who had deposed him and occupied his throne for about sixteen years. The second tope is the Jetawana, erected by a king Mahasena A.D. 275. In form and dimensions it is almost identical with the last described, though somewhat more perfect in outline, and a few feet higher, owing probably to its being more modern than its rival. These two were commemorative monuments, and not relic shrines. Next to these, but far more important from its sacredness, is the Ruanwelli dagoba, erected by king Duttagaimuni, between the years 161 and 137 B.C., over a very imposing collection of relics, of which a full account is given in the 31st chapter of the ‘Mahawanso.’ Its dimensions are very similar to those of the two last described, but it has been so much defaced, partly by violence, and partly, it seems, from a failure of the foundations, that it is not easy to ascertain either its original shape or size. The same king erected another smaller tope, 260 ft. in diameter. It is now known as the Mirisiwellya. Like the last described it is very much ruined, and not particularly interesting either from its form or history. [Illustration: 98. Elevation of front of Staircase, Ruanwelli Dagoba. No scale.] Some excavations that have recently been undertaken have disclosed the fact that the Ruanwelli dagoba had at its base three offsets, or procession paths, rising like steps, one behind and above the other, but with no ornament now apparent, except a plain Buddhist rail of two bars on the outer edge of the two lower ones, and of an elephant cornice to the upper. It can hardly, however, be doubted that the inner faces were originally plastered, and painted with historical scenes. On each of the four fronts of this dagoba was an ornamental projection containing and partially concealing the flights of steps by which access was had to these galleries.[232] From the photographs, it is not clear where the steps were that lead to the first, but those leading from the first to the second and third were arranged like those at Sanchi (Woodcut No. 11) behind this frontispiece. Without a plan, however, it is difficult to make out exactly what the arrangement may have been.