copy of the honeysuckle ornament we are so familiar with as used by the Greeks with the Ionic order. In this instance, however, it is hardly probable that it was introduced direct by the Greeks, but is more likely to have been borrowed from its native country Assyria, whence the Greeks also originally obtained it. The honeysuckle ornament, again, occurs as the crowning member of a pillar at Sankissa, in the Doab, half-way between Muttra and Canouge (Woodcut No. 5), and this time surmounting a capital of so essentially Persepolitan a type, that there can be little doubt that the design of the whole capital came from Central Asia. This pillar, which is of a much stouter and shorter proportion than the edict lâts, is surmounted by an elephant, but so mutilated that even in the 7th century the Chinese traveller Hiouen Thsang mistook it for a lion, if this is indeed the effigy he was looking at, as General Cunningham supposes,[55] which, however, is by no means so clear as might at first sight appear. [Illustration: 5. Capital at Sankissa. (From a Drawing by Gen. Cunningham.)] [Illustration: 6. Capital of Lât in Tirhoot. (From a Drawing by the late Capt. Kittoe.)] Another capital of a similar nature to that last described crowns a lât at Bettiah in Tirhoot--this time surmounted by a lion of bold and good design (Woodcut No. 6). In this instance, however, the honeysuckle ornament is replaced by the more purely Buddhist ornament of a flock of the sacred hansas or geese. In both instances there are cable ornaments used as neckings, and the bead and reel so familiar to the student of classical art. The last named form is also, however, found at Persepolis. These features it may be remarked are only found on the lâts of Asoka, and are never seen afterwards in India, though common in Gandhara and in the Indus for long afterwards, which seems a tolerably clear indication that it was from Persia, though probably on a suggestion from the Greeks, that he obtained those hints which in India led to the conversion of wooden architecture into stone. After his death, these classical features disappear, and wooden forms resume their sway, though the Persian form of capital long retained its position in Indian art. It is more than probable that each of these Asoka lâts stood in front of, or in connection with some stupa, or building of some sort; but all these have disappeared, and the lâts themselves have--some of them at least--been moved more than once, so that this cannot now be proved. So far, however, as can now be ascertained, one or two stambhas stood in front of, or beside each gateway of every great tope, and one or two in front of each chaitya hall. At least we know that six or seven can now be traced at Sanchi, and nearly an equal number at Amravati,[56] and in the representation of topes at the latter place, these lâts are frequently represented both outside and inside the rails.