One of the most elegant of this class is the Bhowani temple at Bhatgaon, represented in the previous woodcut (No. 172). It is five storeys in height, but stands particularly well on a pyramid of five steps, which gives it a greater dignity than many of its congeners. Another, dedicated to Mahadeo, is seen in the centre of the next woodcut (No. 173). It is only two storeys in height, but has the same characteristic form of roof, which is nearly universal in all buildings, civil or ecclesiastical, which have any pretension to architectural design. The temple on the left of the last cut is dedicated to Krishna, and will be easily recognised by any one familiar with the architecture of the plains from its sikra or spire, with the curvilinear outline, and its clustering pavilions, not arranged quite like the ordinary types, but still so as to be unmistakably Bengali. One other example must complete our illustration of the architecture of Nepal. It is a doorway leading to the durbar at Bhatgaon, and is a singularly characteristic specimen of the style, but partaking much more of China than of India in the style of its ornaments (Woodcut No. 174, p. 307). It is indeed so like an archway in the Nankau Pass, near Pekin--given further on--that I was at first inclined to ascribe them to the same age. The Chinese example, however, is dated in 1345;[335] this one, according to Mr. Hodgson, was erected as late as 1725, yet their ornamentation is the same. In the centre is Garuda, with a seven-headed snake-hood; and on either hand are Nagas, with seven-headed hoods also; and the general character of the foliaged ornaments is so similar that it is difficult to believe in so great a lapse of time between them; but I dare not question Mr. Hodgson’s evidence. Since he was in Nepal the building on the left-hand side of the cut has been “improved.” His drawings show it to have been one of the most picturesque buildings in the valley. It certainly is not so now. It may be remembered that in speaking of the architecture of Canara (_ante_, p. 272), I remarked on the similarity that existed [Illustration: 173. Temple of Mahadeo and Krishna, Patan. (From a Photograph.)] between that of that remote province and the style that is found in this Himalayan valley; and I do not think that any one can look at the illustrations quoted above, especially Woodcuts Nos. 150 and 153, and not perceive the similarity between them and the Nepalese examples, though it might require a familiarity with all the photographs [Illustration: 174. Doorway of Durbar, Bhatgaon. (From a Photograph.)]