Passing the projection of the main body of the temple, it lessens for a few paces, then again projects (8), and after a very small space on a line of the body of the tem ple, the length of this wonderful structure, if what is fa bricated downwards out of a solid mass can be so called, terminates in a smaller degree of projection than the for mer. The whole length is supported, in the manner above mentioned, by figures of elephants, lions, Stc. pro jecting from the bases, to give, it should seem,the whole vast mass the appearance of moveability by those mighty animals. The hindmost or eastern extremity of the temple, is composed of three distinct temples, elaborate ly adorned with sculpture, and supported, like the sides, by elephants, &-.c. many of which are mutilated. The left hand side (I mean from the entrance) differs so little from the right, that it is unnecessary to be particular in mentioning any thing, except that opposite the descrip tion of the battle of Ram and Rouon, is that of Keyso Pando, in which the warriors consist of footmen, and others mounted on elephants, and cars drawn by horses, though none were mounted on horses. The principal weapon seems the bow, though maces and straight swords are discoverable.
Centre above. The gateway consists of three centre rooms (9), and one on each side (9). From the centre rooms, crossing the bridge (10), you ascend by seven steps (11) into a square room (12), in which is the Bull Nundee. This room has two doors and two windows. Opposite the windows are the obelisks (b) before men tioned.
From the station of Nundce you cross over the second bridge (I 3), and ascend by three steps (14) into a hand some open portico (15), supported by two pillars (above each of which, on the outside, is the figure of a lion, that, though mutilated, has the remains of great beauty ; and on the inside, two figures resembling sphynxes) towards the bridge, and two pilasters that join it to the body of the temple, the grand apartments of which (16) you en ter from the portico by four handsome steps and a door way, on each side of which are gigantic figures. Ad vancing a few paces into the temple, which is supported by two rows of pillars, besides the walls that are deco rated with pilasters, there is an intermission of one pillar on each side, leading to the right and left to an open portico (17), projecting from the body of the temple ; from the right hand one of which, the bridge already mentioned as broken connected the main temple with the side apartments, to which there is now no visible ac cess, but by putting a ladder for the purpose ; though I was told there is a hole in the mountain above that leads to it, which I had not time nor strength to explore. The access to the opposite is by stairs from below. The recess (18) of the Ling (19) of Mandew, to which there is an ascent of five steps, forms the termination of this fine saloon, on each side of the door of which is a pro fusion of sculpture. The whole of the ceiling has been chunamed and painted, great part of which is in good preservation.
A door (20) on each side of this recess of the Ling of Mandew leads to an open platform (21), having on each side of the grand centre pyramid that is raised over the recess of the Ling, two other recesses (22), one on each side, formed also pyramidically, but containing no image. Three other pyramidical recesses (23), having no images within them, terminate the platform, all of them elaborately ornamented with numerous figures of the Hindu mythology. Many of the outer as well as the in ner parts of this grand temple are chunamed and painted. The people here attribute the smoky blackness of the painting within, to Aurengzebe having caused the dif ferent apartments to be filled with straw and set on fire, which can he reconciled on no other ground than that he meant to efface obscenities, as there are many in the sculp tures. Upon the whole, this temple has the appearance
of a magnificent fabric, the pyramidal parts of which seem to be exactly in the same style as that of the mo dern Hindu temples.
Right-hand side of the area. This side of the rock has a continuance of excavations, as marked in the Plan ; but all those below, except the veranda, which I shall quit for the present, arc of little note ; and those above, of three stories, called Lunka (24), which appear much more worthy of attention, are inaccessible, hut by a lad der from the fall of the bridge. We shall therefore pro ceed to the Left-hand side of the area. In this side there arc ex cavations of some consideration below, loom which you ascend to an upper story, called Par Lunka, by an in different staircase, into a fine temple (25) ; at the ex tremity of which is a recess, containing the Ling of Mah dew ; and opposite thereto, near the entrance from the staircase, is the Bull Nundee, with two large fine figures, resting on maces on each side of the recess, in which he sits. The ceiling of this temple is I think lower than any of the foregoing. The whole of this temple is in fine pre servation, strongly supported by very massy pillars, and richly ornamented with mythological figures, the sculp ture of which is very fine. The ceiling, like the others, has the remains of painting visible, through the dusky appearance of smoke, with which it is obscured. De scending from Par Lunka, you pass through a consider able insculptured excavation (26) to a veranda (27), which seems allotted to the personages of the Hindu my thology, (a kind of pantheon,) in open compartments. These figures commence on the left hand with, 1. The Ling of Mandew, surrounded by nine heads, and sup ported by Rouon. 2. Goura, Parwuttee, and beneath Rouon, writing. 3. Malidew, Parwuttec, and beneath Nundee. 4. Ditto, ditto. 5. Vishnu. 6. Goura, Par wuttee. 7. A Bukta (votary) of Vishnu, with his legs chained. 8. Goura, Parwuttee. 9. Ditto. These re presentations of Goura and Parwuttee all differ from each other. 10. Ditto. 11. Vishnu and Luchmee. 12. Bal Budder, issuing from the Pind, or Ling of Mandew. Here ends the left hand side, and commences the east extremity, or end of the area (28), in which the figures are continued, viz. 13. Goura and Parwuttee. 14. Beh roo, with Govin Raj transfixed on his spear. 15. Dy taseer on a chariot, drawing a bow. 16. Goura and Parwuttee. 17. Kal Behroo. 18. Nursing Outar, is suing from the pillar. 19. Kal Behroo. 20. Bal Beh roo. 21. Vishnoo. 22. Govin. 23. Brimha. 24, Luchmedass. 25. Malimund. 26. Nunain. 27. Beh roo. 28. Govin. 29. Bal Behroo. 30. Gavin Raj and Luchmee. 31. Kissundass. Here ends the veranda of the eastern extremity ; and we now proceed with that on the right hand (29), having in our description of that side stopped at the commencement of this extraordinary veranda, for the purpose of preserving the enumeration of the figures uninterrupted, viz. 32. Mandew. 33. It tuldass. 34. Dhurm Raj embracing Uggar Kaum. 35. Nursing destroying Hum Kushb. 36. Vishnu sleeping on Says Naug, the Kummul (Lotus) issuing from his navel, and Brimha sitting on the flower. 37. Gover dhun. 38. Mandew Bullee, with six hands. 39. Krish na sitting on Gunoor. 40. Bharra Outar. 41. Krishna Chitterbooz trampling on Callea Naug. 42. Ballaju. 43. Anna Pooma. It is to be observed, that almost all the principal figures arc accompanied in their respective pannels by others explanatory of the character of that part of the history of the idol in which it is represented..