The procession-path round the cell--called Pradakshina--as that round the apse, remained for some centuries as a common but not a universal feature. The verandah disappeared. Round a windowless cell it was useless, and the pillared porches contained in themselves all the elements of shelter or of shadow that were required. SIKRAS. There is one other peculiarity common to both Jaina and Hindu architecture in the north of India that requires notice, before proceeding to describe particular examples. It is the form of the towers or spires called Sikras, or Vimanas, which invariably surmount the cells in which the images are placed. It is probably correct to assert that the images of the Tirthankars or of the Hindu deities are invariably placed in square, generally cubical cells, of no great dimension, and that these cells receive their light from the doorway only. It seems also an invariable rule that the presence and position of the cell should be indicated externally by a tower or spire, and that these towers, though square or nearly so in plan, should have a curvilinear outline in elevation. If the tower at Buddh Gaya (_ante_, p. 70) retains unaltered the original form given to it when erected in the 5th or 6th century, this dictum would not apply to Buddhist architecture. As it is, however, the only Buddhist sikra yet discovered it is hardly fair to draw any decided inference from one single example, while with Jaina or Hindu towers I know of no exception. Take for instance the tower represented in the following woodcut (No. 123), which purports to be an elevation of the celebrated Black Pagoda at Kanaruc in Orissa, and may be looked upon as a typical example of the style, and of which it may be considered as a fair medium example. The upper part of the tower, to some extent, overhangs its base. It bends inward towards the summit, and is surmounted by what is called an Amalaka from its supposed resemblance to a fruit of the name--_Phyllanthus emblica_. This, however, is certainly a mistake. Had it been said it was copied from a melon or any large gourd that was divided into pips externally--if there are any such--there are some early examples that might seem to countenance such an idea; but the _Phyllanthus_ is so insignificant a berry that it could hardly ever have been adopted as an architectural model. Besides this its peculiar nicked form occurs frequently in old examples as a sort of blocking course dividing the sikras horizontally into numerous small compartments, and it seems as if what is used there in a straight-lined form, was employed as a circular ornament at the summit. It is a very beautiful architectural device, and was, as far as I can see, adopted only because it was so, and contrasted brilliantly with the flat ornaments with which it was employed. At present we do not seem to be in a position to explain its origin, or that of a great many other details that are frequently met with in Hindu architecture.