The principal object here, as elsewhere, is a cell lighted only from the door, containing a cross-legged seated figure of the saint to whom the temple is dedicated, in this instance Parswanatha. The cell, as in all other examples, terminates upwards in a sikra, or pyramidal spire-like roof, which is common to all Hindu and Jaina temples[272] of the age in the north of India. To this, as in almost all instances, is attached a portico, generally of considerable extent, and in most examples surmounted by a dome resting on eight pillars, which forms indeed the distinguishing characteristic of the style, as well as its most beautiful feature. In this example the portico is composed of forty-eight free-standing pillars, which is by no means an unusual number; and the whole is enclosed in an oblong courtyard, about 140 ft. by 90 ft., surrounded by a double colonnade of smaller pillars, forming porticos to a range of cells, fifty-five in number, which enclose it on all sides, exactly as they do in Buddhist viharas. In this case, however, each cell, instead of being the residence of a monk, is occupied by one of those cross-legged images which belong alike to Buddhism and Jainism, and between which so many find it difficult to distinguish. Here they are, according to the Jaina practice, all repetitions of the same image of Parswanatha, and over the door of each cell, or on its jambs, are sculptured scenes from his life. In other religions there may be a great number of separate similar chapels attached to one building, but in no other would fifty-five be found, as in this example, or the seventy that surround the temple of Neminatha at Girnar (Woodcut No. 126), each containing an image of the same saint, and all so identical as to be undistinguishable. With the Jains it seems to be thought the most important point that the deity or saint is honoured by the number of his images, and that each image should be provided with a separate abode. In other examples, however, it is only a separate niche. On some Jaina monuments the image of the Tirthankar is repeated hundreds, it may almost be said a thousand times over, all the images identical, and the niches arranged in rows beside and above each other, like pigeon-holes in a dovecote. [Illustration: 130. Temple of Vimala Sah, Mount Abu. (From a Sketch by the Author.)] Externally the temple is perfectly plain, and there is nothing to indicate the magnificence within, except the spire of the cell peeping over the plain wall, though even this is the most insignificant part of the erection. [Illustration: 131. Pendant in Dome of Vimala Sah Temple at Abu. (From a Photograph.)]