fervent imagination may revel in miles of bas-reliefs without surfeit, the salutary restraint of a sober outline and a proportional disposition of the component parts being such that the eye never gets tired or the faculty of perception cloyed. Fergusson, pointing to the identity of workmen and workmanship in the sculpture and details of ornamentation at the Boro Budoor and at Ajunta (cave 26), Nassick (cave 17), the later caves at Salsette, Kondoty, Montpezir and other places in that neighbourhood, computes that at the former the decoration extends to nearly 5000 feet, almost an English mile, and, as there are sculptures on both faces, we have nearly 10,000 lineal feet of reliefs. They numbered 2141 in all, counting what is damaged and altogether lost, but omitting the decoration of the ornamental niches: on the lowest wall 408 in the upper and 160 in the lower tier outside, 568 inside; on the second wall, 240 outside and 192 inside; on the third wall, 108 outside and 165 inside; on the fourth wall, 88 outside and 140 inside; on the fifth wall, 72 inside. Regarding their noble qualities of style and decorative value as a component of the general project, the opinion of a writer in the _Quarterly Review_[153] may be quoted, who discusses the Boro Budoor’s straight lines, its untroubled spaces of flat stone, its mouldings of classic simplicity, its intricate and elaborate bands of ornament, held in place by the nice choice of relief, being low and unaccented, in opposition to the deep cutting and full modelling of the panels they surround; and in these panels, he continues, in spite of the full roundness of the modelling and the wealth of ornamental detail, the unity is maintained by a fine sense of rhythm and discreet massing and spacing. The upper tier of carvings on the inner wall of the first gallery, haut-reliefs in contradistinction to the rest, represents the life of the Buddha from his birth until his death and is the best preserved. Many of the others have suffered so badly that they baffle explanation; taken on the whole, they treat of traditional occurrences in connection with the Buddha himself or his predecessors, of gatherings under bo-trees, pilgrimages to reliquaries, alms-giving, exhortations to observe the law, admonitions to virtue: abstinence, tolerance and charity. Animal fables are interwoven with _jataka_-tales, _i.e._ narratives concerning the Buddha before he appeared as the perfect man, tracing his path to holiness in his adventures as a hare, a fish, a quail, a swan, a deer, the king of monkeys, an elephant, a bull, a wood-pecker, a tortoise, the horse Balaha, every metamorphosis serving to illustrate his zeal to sacrifice himself for his fellow-creatures and, incidentally, stimulating the kindness we owe to our poor relations without the power of speech. Professor Speyer’s translation of legends collected in the _Jatakamala_ (wreath of _jatakas_) enables us to recognise in a