DESCRIPTIVE INDEX.

• PL. 1. FRONTISPIECE. (From a cast in brass.) GANÊÇA, son of Çiva and Pârvatî; the God of Prudence and Policy, invoked by Hindus at the commencement of any important undertaking. He is frequently represented, as in this cast, riding upon a rat, as an emblem of wisdom and foresight. Above his head is placed the mystic syllable of the Brahmans, from the pen of Mr. Wilkins, as are also the Sanskrit words, ÇRÎ GAṆÊÇA, in the upper margin.
• PL. 2. SECTARIAL MARKS, ETC. The marks contained in the three upper rows distinguish, generally, Vishnu, or deities closely connected with him, and his Avatârs; they are therefore borne especially by the Vaishnavas, or devotees of the Vishnu sect. The important element in these marks is the perpendicular stroke. 27 and 28 are very rarely found, and may represent the Chakra of Vishnu. 29—33 are of doubtful meaning and authority. 34—37 mark generally, though not exclusively, Çiva, Pârvatî, and their votaries. 38 is seen on Kali, a form of Dêvî, in PL. 27. 39 is thought to represent the Linga. The triangle, with the apex upwards, as in 40 and others, belongs to Çiva, as representing fire ; the inverted triangle, in 41 and others, is Vishnu’s symbol, representing water. 47 and the following, containing horizontal lines, belong to Çiva, Pârvatî, and their kindred deities, and their adherents. In PL. 18 many of these sectarial marks are well seen on the foreheads of the different figures. 71—74 are rare, and, as well as 84, belong rather to certain great families than to religious sects. 75—83; the crescent seems to belong exclusively to Mahâdêva and his family. 85—88 are found on some of the Avatârs of Vishnu. 89 “is taken from a stout piece of copper of the same size, rising, layer over layer, as the circles lessen upwards,” and containing a mystic emblem in the centre. The characters are ancient Sanskrit.
• PL. 3. (From a modern cast, ten inches high, designed by Wilkins, under the direction of learned Pαndits.) BRAHMÂ, in his usual form, has four faces and four arms ; in the hands he holds a portion of the Veda, a spoon for lustral ablutions, a rosary, and a vessel of lustral water. He bears on the forehead the mark of Çiva; he is sometimes found with the mark of Vishnu ; sometimes with both combined, as partaking of the character of both deities.
• PL. 4. (From a coloured drawing.) BRAHMÂ, officiating as a Brahman. His consort, or Çakti, Saraswati, is attending upon him.
• PL. 5. Above : (From an outline sketch.) The three grand attributes of the Deity—Creation, Preservation, Destruction—personified in BRAHMÂ, VISHNU, ÇIVA. BRAHMÂ holds the same instruments as in PL. 3. Vishnu holds in his extended right hand the Chakra, a missile weapon, like a quoit, in this figure emitting flames from its edge; in his left extended hand the Çankh, a seashell of the genus Buccinum. This shell is the attribute which more certainly distinguishes the figures of Vishnu. These are seen more simply represented in Vishnu’s right pair of hands, in PL. 13.

  ÇIVA holds a warlike weapon, and an antelope, generally given to Chandra, the moon, as in PL. 89. Çiva, here, as in the figure below, has his loins wrapped in a tiger’s skin. The face in his head-piece is that of the river-goddess Gangâ, as in PL. 19.

  Below : (From an outline sketch.) ÇIVA or MAHÂDÊVA, as above, with his consort Pârvatî. The small figure between them is unexplained.

• PL. 6.
  • (1) VISHNU, from a cast about twelve inches high.
  • (2) VISHNU, in his Avatâr of VARAHA, or the Boar; with his consort Lakshmî; in this character called VÂRÂHÎ.
  • (3, 4) Probably Lakshmî; unless the cup in the inferior left hand distinguish the figure as Dêvî, the consort of Çiva.
  • (5) LAKSMÎ.
• PL. 7. Above : (From a tinted picture.) VISHNU, under this form called Nârâyana, “moving on the waters” (Manu, I. 10), reposing on the serpent ÇESHA, (called also Ananta,) contemplating and willing the creation of the world. The creative power, BRAHMÂ, is seen springing forth upon a lotus to the surface of the ocean. The figure chafing Vishnu’s feet is Lakshmi.

  Below : (From a tinted picture.) ÇIVA and Parvati conjoined, under this form called Arddhanârî. The same combination is seen in figs. 1 and 2 of PL. 24.

• PL. 8.
  • (1) (From a bronze cast.) VISHNU, with his wives Lakshmî and Satyavâmâ; Brahmâ, as in PL. 7, springing forth upon a lotus.
  • (2, 3, 4) LAKSHMÎ ; under this form called KAMALÂ, as bearing the lotus.
• PL. 9. (All the figures are from bronze casts.) (1) VISHNU.

  (2, 3) LAYSHMÎ, or KAMALÂ. The infant may represent Kâma.

  (4—7) DÊVÎ, or BHAVÂNÎ (a form of Pârvatî); when, as in these figures, bearing the ladle, called ANNAPÛRNÂ.

• PL. 10. Above : (From a picture.) MAHÂKÂLA (represented as MAHÂPRALAYA, “grand consummation of all things”), devouring the universe. Around him are seen Brahmâ, Vishnu, and Çiva, all awaiting the inevitable doom.

  Below : VISHNU, with LAKSHMÎ, on Garuda.

• PL. 11.
  • (1, 2, 3) VISHNU, with LAKSHMÎ. Each cast is about the size of the engraving; fig. 3 is of gilt brass, the eyes formed of rubies, with which the figures are otherwise ornamented.
  • (4, 5) VISHNU, in a subordinate Avatâr, called, by Western pandits, BALLAJI ; and Lakshmi.
  • (6, 7) VISHNU, in a subordinate Avatâr, called Wittoba; and Lakshmî.
• PL. 12. Left-hand figure : (From a cast in silver; the central figure gilt.) VISHNU, in his Avatâr called Ballaji ; with his wives Lakshmi and Satyavâmâ.

  Right-hand figure. The attributes in the hands indicate Vishnu; those on the pedestal, Mahâdêva or Çiva. The figure is described as BHAIRAVA ; an Avatâr of the latter deity.

• PL. 13. ÇIVA and VISHNU, from modern casts, executed at Benares, under the direction of Wilkins and learned Brahmans. The small figure above is KRISHNA.
• PL. 14. (From a bronze cast, twenty-four inches high.) ÇIVA destroying the demon TRIPURÂSURA.
• PL. 15. ÇIVA, from a modern cast designed by Wilkins. Under this form Çiva is known as MAHÂDÊVA PANCHAMUKHÎ; or the five-faced.
• PL. 16.
  • (1, 2) Back and front views of a bronze image of the size of the engraving of MAHÂDÊVA PANCHAMUKÎ.
  • (3) ÇIVA or MAHÂDÊVA, with PÂRVATÎ. In bronze, about ten inches high.
• PL. 17. (From a highly finished and elaborately coloured native painting.) MAHÂDÊVA and PÂRVATÎ.
• PL. 18. (From a large coloured picture.) MAHÂDÊVA and PÂRVATÎ, in Kailâsa, the terrestrial Paradise. The mythological figures on the right are their sons, Ganêça and Kârtikêya; on the left, Brahmâ and Vishnu.
• PL. 19. (From pictures.) Above: MAHÂDÊVA PANCHAMUKHÎ, with PÂRVATÎ, nursing the infant GAṆÊÇA. The attendant on the right wears his hair after the fashion of Mahâdêva.

  Below : MAHÂDÊVA, mounted on his bull, carrying his wife PÂRVATÎ, and his sons Kârtikêya and Gaṇêça.

• PL. 20. Above : MAHÂDÊVA, attended by PÂRVATÎ and GAṆÊÇA.

  Below : VISHNU, under the form NÂRÂYANA, as in PL. 7.

• PL. 21. Above: MAHÂDÊVA, springing from his symbol, the Linga, slaying a demon, or Daitya.

  Below : MAHÂDÊVA and PÂRVATÎ, on their respective vahans or vehicles.

• PL. 22. (From a highly finished painting.) A female devotee performing the ceremony called Lingapûjâ, in honour of MAHÂDÊVA.
• PL. 23. (From picfures.) Above : A group representing the, three personified powers of the Deity (comp. PL. 5); each with his Çakti, or consort; namely, VISHNU with LAKSHMÎ ; ÇIVA and PÂRVATÎ; BRAHMÂ and SARASWATÎ, or BRAHMÎ. Vishnu and Brahmâ are seated on expanded lotus-flowers.

  Below : MAHÂDÊVA and PÂRVATÎ, in the Avatâr in which, according to some local legends of Western Hindustan, they bear the names of Kanda Rao and Mâlsârâ.

• PL. 24. (From pictures). (1, 2) Mahâdêva and Pârvatî conjoined ; in this form called ARDDHANÂRÎ.

  (3) BHAIRAVA, an Avatâr of Mahâdêva.

  (4) SARASWATÎ, consort of Brahmâ, on her vahan.

• PL. 25. (From an embossed brass shield.) Probably VÎRABHADRA, either a son, or an Avatâr of Mahâdêva. The side figures may represent DAKSHA, slain by Virabhadra, and his wife, ÇRÎDÊVÎ.
• PL. 26. (From casts in brass.)
  • (1) VISHNU and LAKSHMÎ.
  • (2) MAHÂDÊVA and PÂRVATÎ.
  • (3) The same subject as PL. 25.
• PL. 27. (From a cast, eighteen inches high.) KÂLÎ, a form of Pârvatî, as an impersonation of Vengeance.
• PL. 28. (From a bronze cast, twelve inches high.) KÂLÎ, in this form called BHADRAKÂLÎ.
• PL. 29. (From an ink sketch.) KÂLÎ, with Brahmans and other attendants. The peacocks, seen above, generally belong to her son Kârtikêya, or to Saraswatî. The Lingas, in the temples above, right and left, mark her as the consort of Mahâdêva.
• PL. 30. (From a well-executed marble, about two feet high.) DÊVÎ, a form of Pârvatî.
• PL. 31. (From a drawing by a native artist, under the direction of a learned pandit.) A mythological composition, introducing the chief deities. Above is DÊVÎ ; then in descending order on the left, ÇIVA, VISHNU, BRAHMÂ ; on the right, AGNI, INDRA, and an attendant, or worshipper. The figures in the upper corners are SÛRYA and CHANDRA, the Sun and Moon. On the lower part of the mountain are seen devotees in various postures of penance.
• PL. 32. DÊVÎ, with attendant deities, named below.
• PL. 33. Above : DÊVÎ, with elephants above, as in PL. 30.

  Below : DURGÂ (Dêvî, or Pârvatî, personifying Active Virtue) slaying an impersonation of Vice, generally named MAHISHÂSURA.

• PL. 34.
  • (1) The same subject as in the lower half of PL. 33.
  • (2) From a small and very rude cast in brass, made, probably, to invoke a happy calving-season, with reference to Surabhî, the Cow of Plenty.
  • (3) From a thin piece of embossed copper. SAPTÂPSARÂ, or the seven Apsaras, or inferior deities, who presided over wells and fountains. The accompanying buffalo is an animal that delights in water, and is often used in raising it for purposes of irrigation.
• PL. 35. The same subject as in PL. 34, 1.
• PL. 36, 37, 38, 39. DÊVÎ, under various forms. The casts are all about the same size as the figures. (2) of PL. 38, and (1), (2), (6), of PL. 39, represent the avenging character of the goddess. In (3) and (4) of PL. 39 are seen the elephants, as before in PL. 30 and 33.
• PL. 40. (From thin stamped plates of copper, the size of the figures).
  1. Bhavânî; when sitting, as here, on a litter, called PALYANKA.
  2. A local deity or saint, named YENKUBA, with Gaṇêça, here called GANAPATI.
  3. DÊVÎ, mounted on a tiger; under this form called VYÂGHRAYÂYÎ.
  4. HANUMÂN.
  5. DÊVÎ, under the form called RUDRÂNÎ.
  6. GARUDA.
  7. DÊVÎ, on a buffalo ; under this form called MAHISHAÇÂYÎ.
  8. Unexplained by the author. The names in the Plate probably given on the authority of Pandits.
  9. A form of BHAVÂNÎ.
• PL. 41.
  • (1) DÊVÎ, marked by the trident and cup.
  • (2) DÊVÎ.
  • (3) From a very old and rude cast, said to be Bhairava.
  • (4) Doubtful ; the Çankh and Chakra seem to indicate Vishnu, or Lakshmî.
  • (5) DÊVÎ, under the form called Satvadêvî.
• PL. 42.
  • (1), (3), (4). DÊVÎ, with various attributes, some rather rare.
  • (2) Probably ÇIVA and PÂRVATÎ.
• PL. 43. Upper figures: Marked in Plate BHAIRAVA. Some of the attributes of the left hand figure are those of Dêvî ; as is also the Linga in the hand of the figure on the right.

  Below : VISHNU and LAKSHMÎ ; ÇIVA and PÂRVATÎ, or else BHAIRAVA and his consort.

• PL. 44. (From casts about the size represented.) GAṆÊÇA, the God of Wisdom and Prudence, under various forms.
• PL. 45. (From pictures.) Above : GAṆÊÇA, seated on an expanded lotus, with SARASWATÎ, consort of Brahmâ, on a peacock.

  Below : SARASWATÎ, as before, with an attendant.

• PL. 46. (From pictures.) Above : KÂRTIKÊYA, with his reputed parents, ÇIVA and PÂRVATÎ.

  The subject of the lower picture is doubtful.

• PL. 47. Above : Marked BHAIRAVA in the Plate. It is doubtful whether the picture represents a mythological subject at all.

  Below : BHAIRAVA (see PL. 24, 3), with worshipper and attendant.

• PL. 48. (From zinc casts after designs by Wilkins.) The first three Avatars of Vishnu; the MATSYÂVATÂRA, the KÛRMÂVATÂRA, and the VARÂHÂVATÂRA : or the Fish-, Tortoise-, and Boar-incarnations.
• PL. 49. The churning of the ocean, during the second incarnation of Vishnu, for the recovery of the Amrita, or elixir of immortality, and other valuable gifts, lost to man by the Deluge. In the picture Vishnu appears thrice : as the tortoise, as seated on the mountain Mandara, and in his place among the chief deities on the left. The mountain served as an axle, the serpent Vâsuki. as a rope, and the Asurâs, or powers of evil, as the counter-power. Below are seen the gifts that were thus recovered, some of them endowed with preternatural virtues.
• PL. 50. (From a cast designed by Wilkins.) Vishnu, in his fourth incarnation, as the Narasinha, or man-lion ; here represented as bursting forth from a rent pillar to avenge the impiety of Hiranyakaçipu, who, denying in an argument the omnipresence of the Deity, had pointed to a pillar, and derisively asked, “Is, then, the Deity here ?”
• PL. 51. (From the set of casts by Wilkins.) (1) Vishnu, in his incarnation as KRISHNA.

  (2), (3), (4). The incarnations known as Halâyudharâma, Râmachandra, Paraçurâma; (or Plough-armed Râma, Moon- or bow-armed Râma, and Axe-armed Râma). Of Vishnu’s incarnation, as VÂMANA, the dwarf, the author has given no illustration.

• PL. 52. (This Plate, together with the five following, is taken from drawings illustrating the Râmâyana.) The contention between Râma and Râvana for the possession of the beautiful Sîtâ (an incarnation of Lakshmi). Above : Is the discomfiture of the many-headed Râvana in his attempt to bend the bow Dhanush, witnessed by Râma and others. Below: Râma is performing the difficult condition of victory, to shoot with the bow Dhanush through the left eye a fish, while revolving on a pole, without seeing the fish, but only its reflection in a pan of oil.
• PL. 53. HANUMÂN, assisted by SUGRÎVA and his associates, building Râma’s bridge from the Continent to Ceylon, in order to attack Râvana, and rescue Sîtâ. The rocks with which it was constructed, being marked RÂ, MA, adapted themselves by the magic potency of these syllables, to the precise spot destined for them, Hanumân having merely to receive and place them.
• PL. 54. (From pictures representing legends in the Râmâyana.) Above : HANUMÂN, five-headed, as son of Çiva (see PL. 19), supporting on his arms Râma and Sîtâ.

  Below: HANUMÂN, having an audience with the ten-headed and twenty-handed Râvana, tyrant of Ceylon. On this occasion, it is related, Hanumân’s tail, on which he was seated, spontaneously lengthened itself, and, by its repeated folds, raised his head above that of Râvana.

• PL. 55. Below : SÎTÂ learning from RÂMA the necessity of her undergoing the fire-ordeal, to satisfy the world of her chaste escape from the power of Râvana.

  Above : SÎTÂ is seen in the flames, comforted by the presence of AGNI, the God of Fire.

• PL. 56. In continuation of the subject of the preceding Plate, the triumphant issue of the ordeal is rapturously hailed by the associates of Hanumân, who communicates to Râma the joyful tidings.
• PL. 57. RÂMA re-united to SÎTÂ, round whose neck he throws the chaplet of marriage. From above, the Pushpavrishṭi, or flower-rain, is seen falling upon the happy pair.
• PL. 58. KRISHNA, after his birth from DÊVAKÎ, conveyed across the river Yamunâ by his reputed father VASUDÊVA, under the protection of the serpent ÇÊSHA. He thus escapes from his uncle Kansa, and is placed under the charge of his foster-mother Yaçodhâ.
• PL. 59. KRISHNA nursed by his mother DÊVAKÎ, or by his foster-mother Yaçodhâ.
• PL. 60. (From casts, except fig. 9, which is from a picture.) (1)—(6). BÂLAKRISHNA, or Krishna as a boy. The ball in the hand is said by some to represent the world, by others to be a plaything. In (7), while yet a boy, he is destroying the serpent Kâliya. In (8), he is seen in his character of Muralîdhar, “ the Tuneful.” (9) seems to combine both characters; identifying him with Apollo, the slayer of the serpent Pytho, and the deity presiding over music.
• PL. 61. KRISHNA uplifting the mountain Gôvardhana, to shelter his worshippers from the wrath of Indra, the Jupiter Pluvius of the Hindu Pantheon, who is attempting to destroy the world by the deluge of rain seen falling above.
• PL. 62. Described by the author, with some doubt, as representing “Krishna about to destroy the serpent Kâliya.”
• PL. 63. RÂSAMANDALA, a circular dance in honour of Krishna. The following legend is related in order to account for the multiplied appearance of Krishna :—A number of virgins having assembled to celebrate the descent of Krishna, the deity himself appeared among them, and proposed a dance, and, to supply the deficiency of partners, he divided himself into as many portions as there were damsels.
• PL. 64. Above : The marriage of KRISHNA with a bear.

  Below : A miracle attributed to KRISHNA. “Being on one occasion in great jeopardy from the wrath of some of his numerous enemies, he produced an immense snake, which received and sheltered in his capacious stomach his flocks, herds, himself, and fellow-shepherds.”

• PL. 65 and 66. Whimsical combinations of KRISHNA and his attendant GÔPÎS.
• PL. 67. KRISHNA, with his chief wife RÂDHÂ, and attendants.
• PL. 68. (From a statue of black marble of life size.) BUDDHA. The rings in the ears are probably given, by a mistake of the engravers, for the elongated ears common in the statues of Buddha (see PL. 73).
• PL. 69. (From a statue in white stone.) BUDDHA, represented with seven faces. The author is inclined to consider this an unauthorized innovation on the part of the sculptor, never having seen Buddha thus represented elsewhere.
• PL. 70.
  • (1), (2), (3), (4) (From metal casts of the size given.) Possibly Buddhas, but in rare and exceptional forms.
  • (5) BUDDHA, from a fine cast in brass, gilt. The peculiar mark on the forehead may represent the lock of hair mentioned as one of the special beauties of Buddha.
  • (6), (7), (8) From small casts in lak, dug up at Buddhagaya.
• PL. 71.
  • (1) BUDDHA, from Wilkins’ set of Avatârs, cast at Benares: it is of zinc, six inches high. “ The position of the hands and feet, and the woolly head, are in the usual style; but being a Brahminical Buddha, we here see long hair braided in a neat knot on the top of the head; and he has not the pendent ears common to the Buddhas of Ava, the Dekkan, and Ceylon.”
  • (2) A BUDDHA, from China; of alabaster, delicately sculptured, about six inches high.
  • (3) A BUDDHA, from Ava ; of silver, eleven inches high.
• PL. 7 2. BUDDHA, from a sculpture in the rock temple at Karlee, between Bombay and Poonah.
• PL. 73.
  • (1) Colossal statue of Gomatîçvara, or Gomata Râya, seventy feet high, at Sravana Belgula, a village in the Mysore, in which the Jain tenets still continue to be prevalent. The statue is of one solid block, and is supposed to have been formed by hewing away the original mass of rock, until the statue alone remained.
  • (2) A similar statue of the same at Einûru, in Canara.
• PL. 74. “The sketch from which PL. 74 is taken, I must, I think, have obtained from the same source as that of fig. 1 of the last plate ; but having omitted to mark it, I am not certain.”—Hindu Pantheon, p. 254.
• PL. 75.
  • (1)- Vishnu, gorgeously attired and decorated, with his usual attributes, standing upon an expanded lotus. The canopy is formed by Çesha doubled; a very rare form.
  • (2) Mythological group representing the union of the three sacred rivers, Ganga, Yamuna, and Saraswatî, personified respectively by Pârvatî, Lakshmî, and Saraswati. This figure is called TRIVÊNÎ, or “three plaited locks,” and forms a female Triad.
  • (3) BUDDHA, as a Brahminical Avatâr.
• PL. 76. Above : BALLAJI (a form of Vishnu), with two wives.

  Below : Fac-simile of a sketch by Mr. Salt, from a ruined temple at Çiva Samudra, an island in the river Caverî. Possibly Buddha.

• PL. 77. Elevation and view of a pillar of granite, 52 feet in height, facing a Jain temple at Mudubidery, near Mangalore, in Canara.
• PL. 78. A wooden pillar from a palace at the same place.
• PL. 79. INDRA, the god of the firmament or atmosphere. The upper half of his body is covered with eyes. In the upper figure he is mounted on his elephant Airâvata, coloured in this picture white, with a crimson outline.
• PL. 80. Above: AGNI, the god of Fire; coloured, as he generally is, deep red. His vahan is a ram.

  Below, to the right: AGNI, seated. To the left: Probably PÂVANA, holding the infant Hanumân.

• PL. 81. TRIMÛRTI, the Hindu Triad. From a bust in granite, about two feet high, dug from the ruins of a temple in the island of Bombay, and deposited by Major Moor in the Museum of the India House.
• PL. 82. The TRIMÛRTI, represented at full length, very rare. The original is about two feet high and broad, and one foot thick; the back unhewn. It was found in the same place as the preceding.

  The small figure in the upper corner is from the rock temple of Salsette, “representing an individual of one of the many celestial bands introduced among the epic machinery of the Hindus.”

• PL. 83.
  • (1) A complicated form of Linga, from an ancient and rude cast in brass of the size of the figure.
  • (2) From a very old cast of the same size, apparently representing a tiger bound to a stake, with a Linga and Nandî beside it; possibly a votive offering of gratitude, in allusion to some personal escape.
  • (3) A subject similar to fig. 1, carved in hard black wood, of the size of the figure.
  • (4) An expanded lotus-flower, borne on the back of a tiger, forming a lamp.
  • (5) A group in brass, about three inches square. At the back is Gaṇêça, and in front a Linga and Nandî.
• PL. 84.
  • (1) From a brass cast. Nandî kneeling before a Linga.
  • (2), (3) The same, with the addition of the serpent Nâga, with a hood expanded over the Linga. The five balls in fig. 2, appearing again in PL. 85 (1), are said to refer mystically to Gaṇêça, Dêvî, Sûrya, and Vishnu, with Mahâdêva resting upon them.
  • (4) A lotus borne by Garuda, from a cast in copper, of the size represented.
• PL. 85.
  • (1), (3) Groups composed of the same elements as fig. 2 of PL. 84; the Nâga in fig. 1 being five-headed.
  • (2) A five-wicked lamp, used in pûjâ to Çiva.
  • (4), (6) Spoons for laving images with holy water. The usual Sanskrit name for them is Sruva.
  • (5) A Kamala, or lotus, closed; borne by a tortoise (Kûrma); used, when expanded by screwing down the confining circle round the base, for holding flowers in pûjâ to Vishnu in the Kûrmâvatâra.
• PL. 86. (1), (2) Two sacrificial spoons richly ornamented.

  In (1) Gaṇêça is above the bowl; then Krishna, with his usual attendants; the handle being formed by a head crowned with the Linga, overshadowed by a five-headed Nâga.

  In (2) the handle is formed by Gaṇêça holding the Linga in his lap, overshadowed by Nâga.

  (3), (4) Two boat- or Linga-shaped sacrificial vessels.

• PL. 87. SÛRYA, the Sun; from a cast executed at Benares, under the superintendence of Wilkins, from a sculpture in the temple of Viçvêçvara (Çiva).
• PL. 88. (From a picture.) The Hindu Zodiac, called Râçiohakra. In the centre is (1) Sûraj, the Sun; surrounded by (2) Vrihaspati (Jupiter); (3) Kêtu (the descending node); (4) Râhu (the ascending node); (5) Budha (Mercury); (6) Mangala (Mars); (7) Chandra (the Moon); (8) Çanîchar (Saturn); (9) Çukra (Venus). The names are here given in their Hindi forms.
• PL. 89. (From tinted pictures.) SÛRYA, the Sun; and CHANDRA, the Moon; each bearing the Çankh and Chandra of Vishnu, and his sectarial mark. Both figures are copper-coloured; their cars and banners are alike: the banners deep red; the only difference in colour is in the scarfs, Sûrya’s being yellow, Chandra’s blue fringed with yellow. Sûrya’s car is drawn by his seven-headed horse, driven by the legless Arun; his glory is white, with golden rays. Chandra is drawn by a pied antelope, and has a silver crescent.
• PL. 90. Above: HANUMÂN struggling with Garuda. Below: GARUDA bearing VISHNU in an uplifted argha, the deity being about to reveal himself to Viçvamitra, the Guru, or spiritual guide of Rama.
• PL, 91. (1) (From a fine cast in brass, of the size represented.) HANUMÂN. The ground of the circle surrounding the figure is perforated, giving the effect of filigree work. The figure at the top is Krishna, seated upon and overshadowed by the five-headed serpent. On the sides of the rim are seen the Çankh and Chakra of Vishnu. The small prostrate figure on the rim below may allude to some warlike exploit of the hero.

  The figures in the four corners of the plate are from casts of the same size, representing Hanumân; and (6), a cast of a monkey, may have some reference to him.

• PL. 92.
  • (1) Possibly HANUMÂN, surmounted by Nâga; cast separately, for the purpose of being inserted behind casts similar to (5) of this plate, and (1) of PL. 91.
  • (2) A small bell, the handle formed by a figure of Hanumân.
  • (3) HANUMÂN and GARUDA, back to back, forming the handle (apparently) of a bell.
  • (4), (6) GARUDA, known by his beaked nose and wings.
  • (5) The same subject as (1) of the preceding plate.
• PL. 93. Above: HANUMÂN “appears on this occasion full-gifted. He bears the triçûla (trident) of his reputed father Çiva; the sword of Kâlî, and a corpse emblematical of death; the gadâ (club) of Vishnu; the pâça (cord) of Varuna; the shield of Lakshman; the ankuça (hook) of Gaṇêça; the pârijâta (tree of Paradise) of Indra; and the sacrificial vase of Brahmâ.” The figure may represent an epitome of Hanumân’s character and actions.

  Below: The meaning of this figure is very doubtful. The author describes it as a Hippogriff appearing to Lakshmi, and gives it the name Virâtarûpâ, “Universal-monarch-form.” The peacock’s head is devouring a city (compare Mahâpralaya, in PL. 10); the uplifted man’s hand holds the gadâ of Vishnu; the other fore-foot is that of an elephant; one hind foot corresponds to the body, which is that of a tiger; the nearer hind-quarters and remaining hindfoot are those of a horse; a serpent forms the tail (comp. Rev. ix. 19).

• PL. 94. Four casts representing the Avatâr of Çiva known as Kanda Rao. Of these (1) and (2) are very old and rudely executed. In (4) the dog is added, as in PL. 23. The sun and moon on the pedestal of fig. 2 should be noticed. See PL. 25, and PL. 26, fig. 3.
• PL. 95. Figures from stamped plates of metal, generally copper, similar to those given in PL. 40. (1) and (3) represent the same subject as the preceding plate.

  (2) Bhairava; a son, sometimes spoken of as an Avatâr, of Çiva; with whom also (4) and (5) must, from the accompanying attributes, be in some way connected; unless the bow and arrows, in the case of (5), mark this figure as Paraçurâma.

• PL. 96. From a picture representing a miracle performed near Poonah, by Nânêçvara, a local Avatâr of Vishnu. The story is briefly as follows :—Nânêcvara, with his brothers and sister, was seated on a wall, when a holy man, named Changa Dêva, was known to be approaching to visit him. Nânêçvara caused the wall to move forward and convey him and his companions to the presence of the visitor, who appeared mounted on a tiger, with a cobra for a whip. The picture exhibits a double action: the two principal personages having also met, Nânêçvara being in the act of raising the prostrate worshipper. The miraculous wall is said to be still shewn at Alundy, a few miles from Poonah.
• PL. 97. (From a modern cast in brass.) BALLAJI (an Avatâr of Vishnu) with his wives (see PL. 76).
• PL. 98, 99, 100. (Chiefly from old and very rude casts in brass.) The connection of many of these figures with the Hindu Pantheon might seem very doubtful, except when marked by the Linga, five balls, sun or crescent, or other distinctive sign. They probably occupy the position of Penates, of obscure and almost undefined character.
• PL. 101. (From a fine four-sided cast in brass.) The four figures in order are, probably, GAṆÊÇA, VISHNU, ÇIVA (MAHÂDÊVA), and PÂRVATÎ. Of the second and last of these, the attributes are not distinctly given in the cast.
• PL. 102. (From a very old and rude four-sided cast in brass.) This very complicated subject may, from the tortoise being the leading figure, be considered to have some reference to the Kûrmâvatâra, or tortoise-incarnation of Vishnu. The chief difference noticeable between the four several sides consists in the groups of figures on the lowest tier. These are, in the order shewn in the Plate, 1. GAṆÊÇA; on his right, a sword and human figure in posture of adoration; on his left, a tree and some quadruped. 2. GARUDA; on his right, a shell, a quadruped, and a bird; on his left, a head and a human figure. 3. HANUMÂN; at the feet of the animal on his right, a bow and arrow; of that on. the left, a sword. 4. BHAHMÂ, four-faced; on his right, a bird and a vase; on his left, a bird and a boat-shaped argha; in front, a sceptre. As to the exact reference of the pair of feet on the back of the tortoise, overshadowed by Nâga, the author can give no satisfactory explanation.
• PL. 103. Gold coins, of the size represented, from the collection of Tippoo Sahib.
• PL. 104. A sacrificial vase of gilt copper, of elaborate workmanship. The handle is formed by Nâga, with Garuda behind, and a figure holding a Çankh in front. In the place of a spout is a lamp, supported by a monster; on its sides are two kneeling figures, armed with sword and shield, attendants, perhaps, of Durga, who is in the act of spearing the personification of Vice.