A strong presumption that the architecture of the two sects was similar arises from the fact of their sculptures being so nearly identical that it is not always easy to distinguish what belongs to the one and what to the other; and in all instances it requires some experience to do this readily. The Tirthankars are generally represented seated in the same cross-legged attitude as Buddha, with the same curly hair, and the same stolid contemplative expression of countenance. Where, however, the emblems that accompany the Jaina saints can be recognised, this difficulty does not exist. Another, but less certain test arises from the fact that the Jaina saints are generally represented as naked--Digambaras or Sky-clad, which in ancient times seems to have been the most numerous sect, though another division or the Swetambaras, or White-robed, were clothed much like the Buddhist. When, therefore, a figure of the class is represented as naked it may certainly be assumed to belong to the sect of the Jains, but the converse is by no means so certain. If clad it may belong to either, and in consequence it is frequently difficult to distinguish between late Buddhist and early Jaina bas-reliefs and sculptures. So far as we can at present see, the most hopeful source of information regarding Jaina architecture seems to be the ruined monasteries of the Gandhara country (Woodcuts Nos. 92, 93, 96). The square or polygonal court of these viharas surrounded by cells containing images is what is found in all Jaina temples. The square or circular altar, or place of worship, may easily be considered as the prototype of the Sikra surrounded by cells of the Jains; and altogether these viharas, though probably as early as the fourth or fifth century of our era, are more like the temples at Abu and Girnar than anything intermediate. It is indeed every day becoming more and more apparent that, in consequence of our knowledge of Buddhist architecture being derived almost exclusively from rock-cut examples, we miss a great deal which, if derived from structural buildings, would probably solve this among other problems that are now perplexing us. The same remarks apply equally to the Jaina caves. Those at Ellora and Badami do not help us in our investigation, because they are not copies of structural buildings, but are imitations of the rock-cut examples of the Hindus, which had grown up into a style of their own, distinct from that of structural edifices. These, being interposed between the Buddhist and Jaina styles, separate the two as completely as if no examples existed, and prevent our tracing any connexion that may have existed between the two forms of art.