Such is the construction of the celebrated temple in the island of Salsette, which lies as it were in the middle between the other two, formed exactly in the same manner. The before-mentioned pagoda of _Mabalipuram_, which I have seen, is, like the rest, cut out in the subterranean rock, and constructed in the same taste, except that the proportions seem to be different. The description of this pagoda will, therefore, enable the reader to form some idea of the antiquity of these temples under the earth, and to judge what progress the ancient Indians had made in the art of architecture. It appears from the account of Careri, that some of the columns and pillars in these temples are square at the bottom, octagonal in the middle, and round at the top. In the pagoda at _Mabalipuram_, I observed, however, that the pillars were perfectly round; had no ornaments, and approached pretty near to the Corinthian order. If I am not much mistaken, the stem and calyx of the Lotus plant, or _Nymphæa_, has here served as a pattern; for, as the calyx of this plant, according to the Indian mythology, is assigned to the gods as a place of residence, it was very natural that the Indians should copy it in their architecture; and, as I have frequently remarked, apply it on columns, pillars, and architraves. I was, therefore, always more and more convinced that they did not imitate the Grecian style, or borrow the smallest ornament from it. This will appear more probable, when we reflect that the antiquity of these temples is far anterior to the age of Alexander the Great, whose conquest of India might certainly have given the natives an opportunity of becoming acquainted with the architecture of the Greeks. The Indian architect is not confined so much by mythology as the statuary. The latter must make the statues of the gods exactly in the way and manner prescribed by the priests; in order, according to their opinion, that the attributes of the deity may be properly expressed. Hence it happens that the Indian statues have from four to six hands; three, and sometimes more heads; and, in general, a very horrid appearance. The architect, however, has full scope for his genius, and is by no means subjected to the arbitrary prescriptions of the Brahmans. For this reason the Indian architecture exhibits more taste, and is much more perfect than their works of sculpture: but I will not deny that the statuaries also make excellent pieces when they are allowed to follow the impulse of their own genius; as is proved by the many bas reliefs, crucifixes, madonnas, vases, and other articles of ivory, which are here and there executed by the Indian artists.