The pillars which support the porticoes and the one on which the model stands are by far the most striking peculiarity of this style, their shafts being almost identical with those of the Grecian Doric, and unlike anything of the class found in other parts of India. Generally they are from three to four diameters in height, diminishing slightly towards the capital, and adorned with sixteen flutes, rather shallower than those of the Grecian order. Both the bases and capitals are, it is true, far more complicated than would have been tolerated in Greece, but at Pæstum and in Rome we find with the Doric order a complexity of mouldings by no means unlike that found here. These peculiarities are still more evident in the annexed representation of a pillar found in Srinagar (Woodcut No. 159), which is a far more highly ornamented example than the last, but equally classical in its details, and, if anything, more unlike any known examples of true Hindu architecture. Nowhere in Kashmir do we find any trace of the bracket capital of the Hindus, nor of the changes from square to octagon, or to the polygon of sixteen sides, and so on. Now that we are becoming familiar with the extent of classical influence that prevailed in Gandhara (_ante_, p. 176) down to the 7th or 8th century, we have no difficulty in understanding whence these quasi-Grecian forms were derived, nor why they should be found so prevalent in this valley. It adds, however, very considerably to our interest in the subject to find that the civilization of the West left so strong an impress on the arts of this part of India that its influence can be detected in all the Kashmiri buildings down to the time when the local style perished under Mahomedan influence in the beginning of the 14th century. Although, therefore, there can be no mistake about the principal forms of the architecture of Kashmir being derived from the classical styles of the West, and as little doubt as to the countries through which it was introduced into the valley, it must not be overlooked that the classical influence is fainter and more remote from its source in Kashmir than in Gandhara. Nothing resembling the Corinthian capitals of the Jamalgiri monastery are found in the valley. The classical features in Kashmir are in degree more like those of the Manikyala tope and the very latest examples in the Peshawur valley. The one style, in fact, seems to commence where the other ends, and to carry on the tradition for centuries after it had been lost in the country from which it was introduced. [Illustration: 159. Pillar at Srinagar. (From a drawing by W. Carpenter, Esq.)]