As before remarked, the eight pillars that support the dome are almost never left by themselves, the base being made square by the addition of four others at the angles. There are many small buildings so constructed with only twelve pillars, as shown in the annexed diagram (No. 117), but two more are oftener added on each face, making twenty altogether, as shown on the upper side of the annexed diagram (No. 118); or four on each face, making twenty-eight; or again, two in front of these four, or six on each face, so as to make thirty-six; and the same system of aggregation is carried on till the number of pillars reaches fifty-six (Woodcut No. 119), which is the largest number I ever saw surrounding one dome; but any number of these domes may surround one temple, or central dome, and the number consequently be multiplied _ad infinitum_. When so great a number of pillars is introduced as in the last instance, it is usual to make the outmost compartment on each face square, and surmount it with a smaller dome. This is occasionally though rarely done even with the smallest number. [Illustration: 119. Diagram of Jaina Porch.] The first result of this arrangement is, that the Hindus obtained singularly varied outline in plan, producing the happiest effects of light and shade with every change in the sun’s position. Another result was, that by the accentuation of the salient and re-entering angles, they produced those strongly-marked vertical lines which give such an appearance of height to Gothic designs. To accomplish this, however, the Western architects were obliged to employ buttresses, pinnacles, and other constructive expedients. The Hindus obtained it by a new disposition of the plan without anywhere interrupting the composition. This form of outline also expresses the internal arrangements of the porch better than could be done by the simpler outline of either a square or circle, such as is usually employed in Europe. Its greatest merit, however, is, that the length of the greater aisles is exactly proportioned to their relative width as compared with that of the subordinate aisles. The entrance being in the angle, the great aisle forms the diagonal, and is consequently in the ratio of 10 to 7, as compared to what it would be if the entrance were in the centre of the side, where we usually place it. From the introduction of the octagonal dome in the centre the same proportion (correctly 707 to 1000) prevails between the central and side aisles, and this again is perhaps the most pleasing that has yet been introduced anywhere. In Gothic churches the principal aisles are generally twice as wide as the side ones, but they are also twice as high, which restores the proportion. Here, where the height of all is the same, or nearly so, this gradation just suffices to give variety, and to mark the relative importance of the parts, without the one overpowering the other: and neither has the appearance of being too broad nor too narrow.