small one. In this case, though the stone is so much larger than usual, the task is easier because a square stone at the top of the steps provides a convenient mount from which the camera may be tilted downwards. It is only by doing so that the detail on the stone can be shown, and the illustration on p. 112 gives a section of the moonstone taken in this manner to show the delicacy of the carving and the life-like activity of the animals. The sacred geese are large, and carry a lotus in their beaks in the usual fashion.

As it is only by the examination of detail that observation is encouraged, it is well here to look closely at these fine steps, which are built after a pattern continually to be seen in these royal cities, but are more easily examined than most owing to the fact that the wing-stones, or balustrades, are missing. To begin with, each step has in the centre and at both ends a squatting dwarf in an Atlaslike posture, which suggests he is supporting the tread with enormous effort. He is on the usual model of such dwarfs, and a larger specimen of the brotherhood appears on a panel above the steps. They all have curled wigs and are girded with cords and adorned with necklets. That they were not slaves is shown by the profusion of ornaments, bangles, and anklets which cover arms and legs. Each one grasps in one hand what looks like a stalk of a plant, but is really a conventionalised snake, thus bringing in the "snake" touch shown in the usual guard-stones in their " nagahoods." The dwarf guardian is said to represent Bhairava, defender of temples and treasures.

Though this entrance, with its many beauties,

may well encourage lingering, there are other points about this extraordinarily large and fine specimen of a monastery-for of course it was that and no palace”—that demand attention. The size of the coping stones alone calls for admiration. Eight of them are sufficient to border the immense central platform. And the largest of these attains thirty-one feet in length. Though size is not to be numbered among the attractions of the ancient specimens of sculpture to be found in Ceylon, as it was in Egypt, where the colossal dimensions of temples and the unparalleled achievements in handling blocks of stone evoke awe, yet that the Cingalese could have excelled in this way also, had they chosen, is shown in such specimens as these. As a rule, however, they rely upon grace and delicacy rather than " mightiness," and even here it is not so much the dimensions of the stones as the perfect line of the moulding which absorbs attention.

In the four corners of the court were the four usual smaller " temples." At the back, outside the wall, is the usual pond, and there are various other ruins which would repay examination. The whole of this splendidly proportioned and designed monastery was cleared out in the season of 1911-12.

CHAPTER V

THE TWO GREATEST DAGABAS

JETAWANARAMA dagaba was handed over to the Buddhist community in 1909, after which two members of the Atamasthana Committee issued a permit for five years to a Buddhist monk to work improvements on it. There were certain conditions attached to this permit to safeguard the dagaba, and all of these were broken. One condition was no trees were to be felled on the tope or stupa, and the monk felled them all! He dug recklessly in an amateur way and broke one of the flat upright pillars beautifully carved called a stele. So the Archæological Commissioners stepped in, in 1910, with the tacit consent of the Committee, to save the venerable ruin. (1910-11 Report.) But even yet there is something in the cropped condition of the dagaba, which arouses a feeling of dissatisfaction.

The guards at the south entrance are ganas, or dwarfs, a more unusual figure than the ordinary guardian and not so graceful; they follow the typical lines considered proper for dwarfs.

The chief beauty of the ruin lies in the splendid platform of hewn blocks from which the drum rises, and the bits of carving on stele and stones near the altars. Some of these are very high art

and well worth study, showing the most graceful human figures as well as floral design of great delicacy. The platform is covered with a thick growth of a small pink-flowered shrub, diversified by a handsome plant like a variegated foxglove, though quite different in the manner of its growth. But this is not difficult to penetrate, as luckily it does not share in the partiality for thorns indulged in by so many shrubs of this country. On the north side is a circular floral altar. On this side also, beyond the dagaba platform, and reaching far into the jungle, are the ruins of a great monastery of fourteen buildings, including shrines and residences, refectory and bath-house, as well as a small dagaba. The monastery entrance is still standing. It is a wonderful experience to traverse these silent groves, and see, on and on, as far as perspective allows, the grey columns, carrying one in thought back to the monoliths in wind-swept Cornwall or on the rocky shores of Scotland.

Taking it for granted that Jetawanarama is the ancient Abhayagiriya, we may recall that this dagaba was built 88 B.C. by a set of monks in rivalry with the older community of the Maha Vihara or Chief Monastery of Anuradhapura, of which the Brazen Palace may have been the headquarters. This was on the return of King Watagemunu, nephew of Dutugemunu, from the Caves of Dambulla, where he had stayed in exile sixteen years, having ascended the throne in 104 B.C. and having been almost immediately driven out. It was enlarged by King Gaja Bahu I, between A.D. 113 and 125, and reached 315 feet in height. King Maha Sena (A.D. 275), misled by a heretic

priest, pulled down the Maha Vihara, scattered the monks, and exalted the Abhayagiri community. He used the stones of the destroyed buildings for making a hall for the reception of a statue of Buddha, and the dagaba at this time attained the height of its splendour.

In the seventh century the religious fraternity disgraced themselves sadly, and slaughtered a certain monk who had told tales of them to the reigning king. They were severely punished, having their hands cut off and being appointed guardians of tanks-a degraded office. But, as we have seen, in the reign of Mahinda II (A.D 787) the monastery was rebuilt, costing 300,000 pieces of gold. He built "an exceedingly beautiful terraced palace with several floors," and out of 60,000 pieces of gold he made an image of Buddha, adorning the head with a gem of great value. It was probably this image which was presented with a jewel by King Dhatu Sena, the jewel having been "lost out of its eye"; also Dhatu Sena caused the "supreme curly locks of that image" to be represented by "a profusion of sapphires," though how this difficult feat was carried out is hard to imagine. Curly hair is admired by the Cingalese, who differ in this trait from the lank-locked Burmese.

Passing round Jetawanarama, and following eastward the Outer Circular Road, we come to a stately image of Buddha alone by the roadside amid the trees. The canopy once sheltering it has gone, and it sits here in the shadowy grove, silent and revered, with the smoke and grease of a never-ceasing stream of devotees blackening