Here the party of Hindoo priests, drummers, and fakeers sat down to rest, while we went on a short distance and reached the entrance to the famous caves of Elephanta. The principal cave is of great extent, excavated out of the solid rock; the colossal columns of the portico seem to hold up the mountain above them. On either side of the entrance great creepers come down in heavy masses over the mountain. Rows and rows of columns handsomely ornamented appear within, growing beautifully less in the distance and vanishing amid gloomy shadows and a thousand fantastic shapes. The gateway or porch is still in excellent preservation; it leads directly through the heart of the mountain. The different shrines, which contain objects of Hindoo worship, are placed on each side. In the centre there is seen by the light of torches a majestic altar of stone, now in a state of decay, supporting a gigantic bust of three noble heads, two of which are in profile. The Hindoo Trinity, Maha Dèo, the Great God, commonly called Brahm, the Hindoo Creator, occupies the centre in full relief. The eyes are half closed, the expression serene and tranquil. It seems to be carved from a living model, and is a perfect Oriental ideal of masculine beauty, with the delicate and refined outline of the features and the deep contemplation expressed in those large downcast eyes. The forehead is crowned with a lofty diadem exquisitely carved, not unlike the mitres worn by the bishops of the Roman Church; the right arm, which is very much broken, once grasped the head of a cobra da capello, which, our pundit explained to us, here typifies in its sublimest sense the masculine or creative energy of the world. Siva, to whom this cavern temple is said to be dedicated, and who is seen in another compartment with his consort Parvati, with a chaplet of skulls round his neck, eight-handed, and bearing the cobra, and whose name in Sanskrit signifies either happiness or pleasure, is seen in profile on the right. In a hand outstretched from the altar he also grasps a cobra, but with its hood extended wide. In his hand the character of the symbol is transformed with the god into that of the avenger or destroyer. The god's mouth is distorted with grimaces, and he puts out the tip of his tongue, by which, according to our pundit and guide, he mocks at the sensualist, and says as plainly as our Bible, "The wages of sin is death."