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Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v2.c15: III. Position of the Mānasāra in Literature

Mānasāra Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Mānasāra-Śilpaśāstra; III. Mānasāra on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Mānasāra: Translation; V. Architecture of Mānasāra: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v2.c15

Language
English

Contents

III. Position of the Mānasāra in Literature

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With a view to ascertaining the position of the *Mānasāra* in relation to the non-architectural literature it will be necessary to discuss the points of similarity in detail. It is, however, practicable, in an article like this, to take into consideration only the architectural portions of works which deal with the subject specially. For the purpose of an elaborate treatment, we propose to compare the *Mānasāra* with the *Agni-Purāṇa*, the *Garuḍa-Purāṇa*, the *Matsya-Purāṇa*, the *Bhavishya-Purāṇa*, the *Brihat-saṁhitā*, the *Kāmikāgama*, and the *Suprabhedāgama*.

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It has been pointed out at the outset that architecture comprises a variety of subjects. But it cannot be denied that the fundamental business of the architect is with buildings, residential, religious, and military. It appears to be a fashion among many peoples of the past as of the present to designate individual buildings by proper names with or without a meaning.¹ It seems to have been a custom among the ancient Hindu architects to describe buildings under some such names. In the eight treatises we have proposed to compare in detail, we find buildings bearing proper names classified and described in the following way.

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¹ Compare, for instance, Whitehall, Guildhall, Mansion House, Cosy Corner, Gordon Castle, Benmore, Barnes Castle, Svastika, Vijaya, Vipulāṅka, Indra-kānta, Chatur-mukha, Pāñchāla, Drāviḍa Kamalā-Bhavana, Chitta-Viśrāma, etc.

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1. In the *Mānasāra*, the main buildings are described in some thirteen chapters.² Their common features from bottom to top are given under storeys varying from one to twelve. They are also classified under styles—Nāgara, Vesara, and Drāviḍa—chiefly in accordance with the shape of the topmost part³; under sizes⁴; as Śuddha, Miśra, and Saṁkīrṇa in accordance with the materials of which they are built⁵; under Jāti, Chhanda, Vikalpa, and Ābhāsa in accordance with the various lengths of the cubit with which the buildings are measured¹; under Sthānaka, Āsana, and Śayana, which are otherwise called Saṁchita, Asaṁchita, and Apasaṁchita respectively²; and under shapes, Puṁliṅga (masculine), Strīliṅga (feminine)³, and Napuṁsaka (neuter).

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² Chapters XVIII to XXX, see the summary of contents in the preceding section under XVIII.

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³ For details of these styles, see the writer's Dictionary under Nāgara.

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⁴ Large, intermediate and small.

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⁵ (*a*) Śuddha or pure, made of one material (brick, iron or wood). (*b*) Miśra or mixed, made of two materials. (*c*) Saṁkīrṇa or amalgamated, made of three or more materials. M. XVIII, 139–142

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¹ M. XIX, 2–5.

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² Referring respectively to height, breadth, and length, ibid 7-9, 10-11. The three latter sets also refer to the postures of the idols in case of temples, namely, erect, sitting, and recumbent.

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³ Equiangular and rectangular respectively. But in case of temples, the former contains the male deities while the latter may contain both female and male deities, ibid 14-17. For the neuter class see the Kāmikāgama below.

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The details of the ninety-eight types of buildings described according to the number of storeys are given below. The numerical figures on the left indicate the serial numbers, and those on the right refer to the lines or verses of the chapters:

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I. The eight kinds of single storeyed buildings with their characteristic features, chapter XIX—(1) Vaijayāntika, with round spire (*śīrsha*), pinnacle (*śiraḥ*), and neck (*grīvā*) (line 166); (2) Bhoga has *karṇa* or ears (187); (3) Śrīviśāla has the *bhadra* or front tabernacle in it (168); (4) Svastibandha has octangonal finial (*śīrsha*) (168); (5) Śrīkara has quadrangular *śikhara* or steeple (170); (6) Hastipṛishṭha has oval steeple (171); (7) Skandatāra has hexagonal spire and neck (172); (8) Keśara has the front tabernacles in the centre of the side-towers at the corners of the roof, and its nose, head, and neck are round or quadrangular (173-175).⁴

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⁴ For further details see the writer's Dictionary under ekabhūmi.

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II. The eight kinds of two storeyed buildings, chapter XX (The general features are the same in all the eight kinds; the distinction lies in the different proportions given to the component parts from above the ground floor to the top):

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(9) Śrīkara (lines 94, 2-9); (10) Vijaya (94, 10–15); (11) Siddha (94, 16—18); (12) Paushṭika (94, 19–25); (13) Antika (94, 25—27); (14) Adbhuta (94, 28—33); (15) Svastika (95, 34–41); and (16) Pushkala (94, 42-43). The projection, the general description, and the carvings on the doors, when these buildings are used as temples, are given (44–93, 96--116).⁵

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⁵ For further details see the writer's Dictionary under dvitala, and tritala.

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III. The eight kinds of three-storeyed buildings, chapter XXI:

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(The general features and characteristic marks are similar to those of two-storeyed buildings).

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(17) Śrīkānta (lines 2–11); (18) Āsana (12–21); (19) Sukhālaya (22–30); (20) Kesara (31–32); (21) Kamalāṅga (33-38); (22) Brahmakānta (39-40); (23) Merukānta (41–49); and (24) Kailāsa (50–52).⁶

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⁶ For further details see the writer's Dictionary under dvitala, and tritala.

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The general features, characteristic marks and other details of the following kinds are similar to those of the two-and three-storeyed buildings.

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IV. The eight kinds of four-storeyed buildings, chapter XXII:

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(25) Vishṇukānta (lines 3—12); (26) Chaturmukha (13—24); (27) Sadāśiva (25-33); (28) Rudrakānta (34—43); (29) Īśvarakānta (44—46); (30) Mañchakānta (47—57); (31) Vedikānta (58—59); and (32) Indrakānta (60-88).¹

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¹ For further details, see the writer's Dictionary under chatustala, pañchatala, shaṭtala, saptatala, ashṭatala, navatala, daśatala, and ekādaśatala.

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V. The eight kinds of five-storeyed buildings, chapter XXIII:

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(33) Airāvata (lines 3—12); (34) Bhūtakānta (13—15); (35) Viśvakānta (16—18); (36) Mūrtikānta (19—24); (37) Yamakānta (25—29), (38) Gṛihakānta (30—38); (39) Yajñakānta (33—40); and (40) Brahmakānta (41—42).²

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² For further details, see the writer's Dictionary under chatustala, pañchatala, shaṭtala, saptatala, ashṭatala, navatala, daśatala, and ekādaśatala.

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VI. The thirteen kinds of six-storeyed buildings, chapter XXIV:

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(41) Padmakānta (lines 3—12); (42) Kāntāra (13—14); (43) Sundara (15), (44) Upakānta (16); (45) Kamala (17-18); (46) Ratnakānta (19); (47) Vipulāṅka (20); (48) Jyoti(sh)kānta (50); (49) Saroruha; 50) Vipulākṛitika (53); (51) Svastikānta (53); (52) Nandyāvarta (54); and (53) Ikshukānta (55).³

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³ For further details, see the writer's Dictionary under chatustala, pañchatala, shaṭtala, saptatala, ashṭatala, navatala, daśatala, and ekādaśatala.

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VII. The eight kinds of seven-storeyed buildings, chapter XXV:

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(54) Puṇḍarīka (lines 3—23); (55) Śrīkānta (24); (56) Śrībhoga (25); (57) Dhāraṇa (26); (58) Pañjara (27); (59) Āśramāgāra (28); (60) Harmyakānta (29); and (61) Himakānta (30).⁴

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⁴ For further details, see the writer's Dictionary under chatustala, pañchatala, shaṭtala, saptatala, ashṭatala, navatala, daśatala, and ekādaśatala.

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VIII. The eight kinds of eight-storeyed buildings, chapter XXVI:

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(62) Bhūkānta (lines 3—21); (63) Bhūpakānta (22—28); (64) Svargakānta (29—34), (65) Mahākānta (35—39); (66) Janakānta (40); (67) Tapa(s)kānta (41—42); (68) Satyakānta (43—45); and (69) Devakānta (46—47).⁵

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⁵ For further details, see the writer's Dictionary under chatustala, pañchatala, shaṭtala, saptatala, ashṭatala, navatala, daśatala, and ekādaśatala.

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IX. The seven kinds of nine-storeyed buildings, chapter XXVII:

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(70) Saurakānta (lines 5—9); (71) Raurava (10); (72) Chaṇḍita (11—12); (73) Bhūshaṇa (13—14); (74) Vivṛata (20--22); (75) Supratikānta 23—26); and (76) Viśvakānta (27—33).⁶

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⁶ For further details, see the writer's Dictionary under chatustala, pañchatala, shaṭtala, saptatala, ashṭatala, navatala, daśatala, and ekādaśatala.

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X. The six kinds of ten-storeyed buildings, chapter XXVIII:

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(77) Bhūkānta (lines 6—8); (78) Chandrakānta (6—8); (79) Bhavanakānta (9—13); (80) Antarīkshakānta (14—15); (81) Meghakānta (16—17); and 82) Abjakānta (18).⁷

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⁷ For further details, see the writer's Dictionary under chatustala, pañchatala, shaṭtala, saptatala, ashṭatala, navatala, daśatala, and ekādaśatala.

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XI. The six kinds of elevén storeyed buildings, chapter XXIX:

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(83) Śambhukānta (lines 3—7); (84) Īśakānta (8—0); (85) Chakrakānta (10—14); (86) Yamakānta (15-17); (87) Vajrakānta (18-24); and (88) Akrakānta (24-33).⁸

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⁸ For further details, see the writer's Dictionary under chatustala, pañchatala, shaṭtala, saptatala, ashṭatala, navatala, daśatala, and ekādaśatala.

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XII. The ten kinds of twelve-storeyed buildings, chapter XXX :
(83) Pāñchāla (lines 8–16) ; (90) Drāvida (8–10) ; (91) Madhyakānta (11–14); (92) Kāliṅgakānta (14–16) ; (93) Varāṭa (Virāṭa ?) (17–27) ; (94) Kerala (28–30); (95) Vaṁśakānta (31–32) ; (96) Māgadhakānta (33–34) ; (97) Janakakānta (33–36) ; and (98) Sphūrjaka (Gurjaraka, (7, 37–84 ; description of the twelfth storey).¹

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¹ These ten kinds are named, it should be noticed, after the historic places, well marked in the ancient geography of India, which cover the whole length and breadth of the continent. The topography of these places is described elsewhere (pp. 173–174). For the architectural details of these buildings see the writer's *Dictionary* under these ten terms. The description of the twelfth storey is given under Dvādaśatala.

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2. *Agni-Purāṇa*, chapter 42. V. 1–9 (general plan), 10–25 (plan with reference to the idol), chapter 104, V. 1–11, 22–34 (further general plan), 11–21 (names, classes, shapes, and description of forty-five kinds of temples).

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Five divisions depending on five shapes (plans), and each including nine kinds of temples (chapter 104, V. 11–13):

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I. Vairāja—quadrangular (square)—includes (1) Meru, (2) Mandara, (3) Vimāna, (4) Bhadra, (5) Sarvatobhadra, (6) Charuka (in the Kāmikāgama, XXXV 87, 91 : Ruchaka), (7) Nandika, (8) Nandi varddhana, and (9) Śrīvatsa, (chapter 104, V. 14, 15).

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II. Pushpaka—rectangular—includes (10) Ba(Va)labhī, (11) Griharāja, (12) Śālāgriha or Śālāmandiıra, (13) Viśāla, (14) Sama, (15) Brahma-mandira, (16) Bhavana or Bhuvana, (17) Prabhava, and (18) Śivikā-veśma, (chapter 104, V. 16, 17).

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III. Kailāsa—round—includes (19) Balaya (Valaya), (20) Dundubhi, (21) Padma, (22) Mahā-padmaka, (23) Varddhani, (26) Kalaśa, and (27) Svavṛiksha, (chapter 104, V. 17–18).

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IV. Maṇika—oval (vṛittāyata)—includes (28) Gaja, (29) Vṛishabha, (30) Haṁsa, (31) Garutman, (32) Rikshanāyaka, (33) Bhūshaṇa, (34) Bhūdhara, (35) Śrījaya, and (36) Prithivī-dhara, (chapter 104, V. 19--20).

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V. Trivishṭapa—octagonal—includes (37) Vajra, (38) Chakra, (39) Svas-tika, (40) Vajra-svastika, (41) Chitra, (42) Svastika-khaḍga, (43) Gadā, (44) Śrīkaṇṭha, and (45) Vijaya, (chapter 104, V. 20--21).

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3. *Garuda-Purāṇa* (chapter 47) has exactly the same general plan (V. 1–20, 32–47), five shapes, five classes (V. 21–23), and forty-five kinds of buildings (V. 24–32), but the wording is not identical. The fourth class is read Mālikā (V. 21) in the general description but the name ‘Maṇika’ (V. 30) is given later on :

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I. Vairāja—square (V. 21–22)—includes the same 9 kinds ; but (7) Nandika is read as Nandana, and (6) Charuka is correctly read as Ruchaka, (V. 24–25).

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II. Pushpaka—rectangular (V. 22—23)—includes nine kinds, where (10) Valabhī is correctly spelt, (13) Viśāla is read as Vimāna, which is apparently a mistake in the *Garuḍa-Purāṇa* because (3) Vimāna is a kind of building included in the square (I) Vairāja class. But the reading of class (II) seems better in the *Garuḍa-Purāṇa*, which may be quoted: (10) Valabhī, (11) Gṛiharāja, (12) Śālāgṛiha, (13) Mandira, (14) Viśāla (text has ‘Vimāna’), (15) Brahma-mandira, (16) Bhavana, (17) Uttambha, and (18) Śibikā (for Śivikā)-veśma, (V. 26—27).

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III. Kailāśa—round (V 21—23)—has nine kinds, again perhaps with better readings: (19) Valaya, (20) Dundubhi, (21) Padma, (22) Mahāpadma, (23) Mukulī (in place of Varddhanī), (24) Ushṇīshi, (25) Śaṅkha, (26) Kalaśa, and (27) Guvā-vṛiksha, (V. 28—29).

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IV. Maṇika—oval (V. 30)—has nine kinds, of which (31) (32), and (33) are read as Garuḍa, Siṁha and Bhūmukha respectively, (V. 29—30).

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V. Trivishṭapa—octagonal (V. 21, 23)—has nine kinds, readings again seem better here: (37) Vaira, (38) Chakra, (39) Mushṭika (preceded by Babhru, V. 31), (40) Vakra, (41) Svastika, (42) Khaḍga, (43) Gadā, (44) Śrīvṛiksha, and (45) Vijaya, (V. 31—32).

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4. The *Matsya-Purāṇa*, chapter 269:

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The description of the general plan (verses 1—7)¹ is followed by that of the special plan (verses 8—20).

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¹ एवं वास्तुबलिं कृत्वा भजेत् षोडशभागिकम् । तस्य मध्ये चतुर्भिस्तु भागैर्गर्भन्तु कारयेत् ॥ १ ॥ भागद्वादशकं सार्धं ततस्तु परिकल्पयेत् । चतुर्दिक्षु तथा ज्ञेयं निर्गमं तु ततो बुधैः ॥ २ ॥ चतुर्भागेन भित्तीनामुच्छ्रयः स्यात् प्रमाणतः । द्विगुणः शिखरोच्छ्रायो भित्त्युच्छ्रायप्रमाणतः ॥ ३ ॥ शिखरार्धस्य चार्धेन विधेया तु प्रदक्षिणा । गर्भसूत्रद्वयं चाग्रे विस्तारे मण्डलस्य तु ॥ ४ ॥ आयतश्च त्रिभिर्भागैर्भद्रयुक्तः सुशोभनः । पञ्चभागेन संभज्य गर्भमानं विचक्षणः ॥ ५ ॥ भागमेकं गृहीत्वा तु प्राग्ग्रीवं कल्पयेद्बुधः । गर्भसूत्रसमभागादग्रतो मुखमण्डपः ॥ ६॥ एतत् सामान्यमुद्दिष्टं प्रासादस्य च लक्षणम् ।

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The names (V. 28—30), description of architectural details (V. 31—46), measures (47— 51) and division (53—54) of twenty types of buildings :

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(1) Meru has 100 cupolas (*śriṅga*), 16 storeys (*bhūmika*), many variegated steeples (*śikhara*), and is 50 cubits broad (V. 28, 31, 53); (2) Mandara has 12 storeys, many steeples and faces, and is 45 cubits broad (V. 28, 37, 47, 53); (3) Kailāsa has 9 storeys, (many steeples and faces), and is 40 cubits broad (V. 32, 47, 53); (4) Vimāna-chchhanda has 8 storeys, many steeples and faces (*ānana*), and is 34 cubits broad (V. 25, 32, 33, 47, 53); (5) Nandi-vardhana has 7 storeys, and is 32 cubits broad (V. 29, 33, 48, 53); (6) Nandana has 7 storeys, and is furnished with *vishāṇa* or horns, and is 30 cubits broad (V. 29, 33, 48, 53); (7) Sarvatobhadra has 5 storeys, 16 corners with various shapes, is furnished with art-galleries (*chitraśālā*), and is 30 cubits broad (V. 29, 34, 35, 48, 53); (8) Vallabhi-chchhandaka has 5 storeys, many steeples and faces, and is 16 cubits broad (V. 35, 50, 53); (9) Vṛisha should resemble the height and length of the bull, be round and without corners, should have 5 cupolas, 2 storeys, and should be 4 cubits broad at the central hall (V. 30, 36, 44, 45, 53); (10) Siṁha resembles the lion and is 16 cubits broad is adorned with the famous *chandrasālā* (top rooms, gable-windows), and by the width of the front neck 6 storeys high (V. 29, 36, 40, 49, 53); (11) Gaja resembles the elephant, and is 16 cubits broad, and has many

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सामान्यमपरं तद्वत्प्रासादं शृणुत द्विज ।

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त्रिभागं कारयेत् क्षेत्रं यत्र तिष्ठन्ति देवताः ॥ २१ ॥ स्थाङ्कस्तेन मानेन बाह्यभागविनिर्गतः । नेमिपादेन विस्तीर्णो प्रासादस्य समन्ततः ॥ २२ ॥ गर्भतु द्विगुणं कुर्यात्तस्य मानं भवेदिह । स एव भित्तेरुत्सेधो द्विगुणः शिखरो मतः ॥ २३ ॥ प्राग्ग्रीवः पञ्चभागेन निष्क्राषस्तस्य चोच्यते । कारयेत् सुषिरं तद्वत्प्राकारस्य विभागतः ॥ २४ ॥ प्राग्ग्रीवं पञ्चभागेन निष्कापेण विशेषतः । कुर्याद्वा पञ्चभागेन प्राग्ग्रीवं कर्णमूलतः ॥ २५ ॥ स्थापयेत् कर्णकं तत्र गर्भान्ते द्वारमूलतः । एवं तु त्रिविधं कुर्याज्ज्येष्ठमध्यकनीयसम् ॥ २६ ॥ लिङ्गमानानुभेदेन रूपभेदेन वा पुनः । एते समासतः प्रोक्ता नामतः शृणुताधुना ॥ २७ ॥ तथा मेर्वादयः सप्त ज्येष्ठलिङ्गे शुभावहाः । श्रीवृक्षकादयश्चाष्टा मध्यमस्य प्रकीर्तिताः ॥ ५३ ॥ तथा हंसादयः पञ्च कण्यसे शुभदा मताः ॥ ५४ ॥

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*chandaśālās* or top rooms (V. 36, 41, 49, 53); (12) Kumbha resembles the water-jar, has 9 storeys, 5 cupolas (*aṇḍas*), and is 16 cubits broad (V. 37, 49, 53); (13) Samudraka has 16 sides around, 2 *chandaśālās* (top rooms) at the two sides, 2 storeys (V. 38, 53); (14) Padma has 3 storeys, 16 corners, a variegated steeple, and is 20 cubits broad (V. 30. 39, 49, 53); (15) Garuḍa has the *gṛiharāja* (? around), 7 storeys, 3 top rooms, and is 8 cubits broad, and there should be 86 (?) compartments (*bhūmikā*, lit., storeys, V. 42) all around the outside (V. 41, 43, 51). There is a similar Garuḍa-building with 10 storeys and a second Padmaka-building with 2 storeys more (? 12 storeys, V. 43); (16) Haṁsa is 10 cubits broad (36, 51); (17) Vartula is 20 cubits broad (V. 29, 49, 53). No special description is given of the remaining: (18) Chaturaśra (four-cornered, V. 28, 53); (19) Ashṭāśra (eight-cornered, V. 29, 53); (20) Shoḍaśāśra (sixteen-cornered, V. 29, 53).¹

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¹ Compare the three divisions of these buildings according to sizes.

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Similar types of buildings are described almost in the same way in both the *Bhavishya-Purāṇa* and the *Bṛihat-saṁhitā*.

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5. The *Bhavishya-Purāṇa*, chapter 130, names (V. 23—26), description of the architectural details and measures (V. 27--35) of the twenty kinds of buildings (same as in the *Bṛihat-saṁhitā*, see below):

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(1) Meru, 39 cubits high and 32 cubits broad, has 12 storeys, various windows (*kuhara*), and four gateways (V. 27).

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(2) Mandara, 30 cubits broad, and has 10 storeys (V. 28).

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(3) Kailāsa, 28 cubits broad, has steeples and 8 storeys (V. 28).

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The description of the following is clearer in the *Bṛihat-saṁhitā*, quoted below; the names may be given here:

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(4) Vimāna with latticed windows (V. 29)

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(5) Nandana (V. 29)

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(6) Samudga (V. 30), Samudra (V. 24) as in the *Bṛihat-saṁhitā* (LVI. 28, 5).

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(7) Padma (V. 30).

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(8) Garuḍa (V. 31).

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(9) Nandi-vardhana (V. 28, Nandī, V. 31).

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(10) Kuñjara (V. 32).

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(11) Gṛiharāja (V. 32), *Bṛihat-saṁhitā* (LVI. 25) has ‘Guharāja.’

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(12) Vṛisha (V. 33).

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(13) Haṁsa (V. 33).

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(14) Ghaṭa (V. 33).

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(15) Sarvatobhadra (V. 34).

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(16) Siṁha (V. 35).

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(17) Vṛitta (as in the *Brihat-saṁhitā*, LVI, 29, 49): but here (V. 33) it reads Vṛisha like (12), which is apparently a mistake (see V. 30).

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No special description is given of the remaining :

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(18) Chatushkoṇa (four-cornered V. 25), *Matsya-Purāṇa* (chapter 269, V. 28, 53) has Chaturaśra; and *Bṛihat-saṁhitā* (VI, 28) has Chaturasra.

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(19) Ashṭāśra (octangular, V. 25).

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(20) Shoḍaśāsra (sixteen-cornered, V. 25).

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Varāhamihira seems to have taken these from an earlier Purāṇa and improved them in the *Bṛihat-saṁhitā*.

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6. The *Brihat-saṁhitā*, LVI. 1—19:

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The religious merits acquired by building temples (V. 1—2); suitable sites—in the garden, wood, banks of rivers, (seas), tanks (V. 3—8); ground (V. 9); general plan (V. 10); situation of doors (V. 10); comparative measures of length, breadth and height (V. 11), of the adytum (garbha, V. 12), of the doors and their different parts (V. 12—14); carvings on the door (V. 15); comparative measures of the idol, pedestal, and door (V. 16); the heights of storeys (V. 29—30).

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This is followed by a classification (V. 17—19) and an account of the architectural details (V. 20–28) of the same twenty kinds of temples (prāsāda) as are given in the *Matsya-Purāṇa* and the *Bhavishya-Purāṇa*. The names of these buildings are given below, details being almost the same as in the Purāṇas :

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(1) Meru (V. 20).

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(2) Mandara (V. 21).

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(3) Kailāśa (V. 21).

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(4) Vimāna-(chchhanda) (V. 17—22).

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(5) Nandana (V. 22).

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(6) Samudga (V. 23).

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(7) Padma (V. 23).

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(8) Garuḍa (V. 24).

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(9) Nandivardhana (V. 24).

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(10) Kuñjara (V. 25).

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(11) Guharāja (V. 25).

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(12) Vṛisha (V. 26).

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(13) Haṁsa (V. 26).

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(14) Ghaṭa (V. 26).

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(15) Sarvatobhadra (V. 27).

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(16) Siṁha (V. 28).

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(17) Vṛitta (V. 18—28).

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(18) Chatush-koṇa (V. 18—28).
(19) Ashṭāsra (V. 18—28).
(20) Shoḍaśāsra (V. 18--28).

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8. The *Kāmikāgama*, paṭala LV¹: The four classes : Jāti (V. 128). Chhanda (V. 129), Vikalpa (130), and Ābhāsa (130). Paṭala XLV: Further classifications :
(1) Saṁchita, Apasaṁchita, and Upasaṁchita (V 6).
(2) Nāgara (6, 12, 13), Drāviḍa (6, 14, 15), and Vesara (7, 16—18).
(3) Jāti (7, 19), Chhanda (7- 20), and Vikalpa (7-20).
(4) Śuddha (7, 21) Miśra (7, 22), and Saṁkīrṇa (7, 22).
(5) Puṁ-liṅga or masculine, also called Saṁchita (8, 9), Strī-liṅga or feminine (9, 10), and Napuṁsaka or neuter (11). This class (5) does not refer (like the *Mānasāra*) to the sexes of the deities. Here they appear more like residential buildings : their characteristic features are determined by architectural details The distinguishing marks of the divisions in the other four classes (1 to 4) are similar to those of the *Mānasāra* noticed above.

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¹ This Paṭala refers to the description of a single building and its component parts. So also does the Paṭala XLV (see under Mālikā); it is named Mālikā-(lakshaṇa) and does not mean anything but Prāsāda; Cf. Prāsāda-vyāsa-dīrghochchā proktā prāsāda-mālikā (11, 4).

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In Paṭala XXXV, Śālās, in almost the sense of Prāsāda, are divided into five classes : Sarvatobhadra (87, 88), Varddhamāna (87, 88), Svastika (87, 89), Nandyāvarta (87, 90), and Charuka (87, 91). Their technical names² :
(1) Sindhuka (XLV, 23—28); (2) Saṁpūrṇa (29—30); (3) Merukūṭa (31); (4) Kshema (32—34); (5) Śiva (35—38); (6) Harmya (39—40); (7) Saumya (40); (8) Viśāla (41); (9) Sarvakalyāṇa (43—49); (10) Vijaya (50); (11) Bhadra (51); (12) Raṅgamukha (52); (13) Alpa (53--54); (14) Koṇa (55—58); (15) Geya (58a—59); (16) Sāra (60); (17) Pushkara (61, 63); (18) Adbhuta (61a); (19) Saṁkīrṇa (62); and (20) Daṇḍa (64).

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² For further details see the writer's Dictionary under these terms and Mālikā.

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8. The *Suprabhedāgama*, Paṭala XXXI (named Prāsāda): Three styles of temples—Nāgara, Drāviḍa, and Vesara (38—39). Different kinds of temples—(1) Kailāsa, (2) Mandara, (3) Meru, (4) Himavat, (5) Nishadha (also called Nīlaparvata, Mahendra), (6) Nalinaka, (7) Pralīnaka, (8) Nandyāvarta, (9) Śrīvarta (? Śrīpada), and (10) Parvata, (40—52).

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Maṇḍapas are first divided into four classes:

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Deva-maṇḍapa, Snapana (bath)-maṇḍapa, Bṛisha (bull, nandin)-maṇḍapa, and Nṛitta (music)-maṇḍapa (96—97, 98—99); and further classified under epithets, Nandavṛitta, Śriyāvṛitta, Vīrāsana, Jayabhadra, Nandyāvarta, Maṇibhadra, and Viśāla (100—104).

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The attention of readers is invited to the lists of the buildings described in the eight works under observation.

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The list in the *Mānasāra* contains in 12 classes (storeys) 98 types of buildings; the *Agni-Purāṇa* has in 5 classes (or divisions) 45 types, the *Garuḍa-Purāṇa* also has in the same 5 classes (or divisions) the same 45 types; the *Matsya-Purāṇa* has in 3 divisions 20 types, the *Bhavishya-Purāṇa* has left out the broader divisions but contains the 20 types; the *Bṛihat-saṁhitā* in the very same way contains the 20 types; the *Kāmikāgama* has in 3 divisions (of various kinds) 20 types; and the *Suprabhedāgama* has left out all the minor divisions but preserves the most impartant one, namely, the 3 styles (Nāgara, Vesara, Drāviḍa), which comprise 10 types of buildings.

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The various broader divisions, such as Śuddha, Saṁchita, Sthānaka, Jāti, Puṁliṅga, etc., we have seen in the *Mānasāra*, are repeated in the same terms and same sense in the *Āgamas*. The most important division into the styles—the Nāgara, Vesara and Drāviḍa—is also preserved intact in the latter works. These are purely architectural divisions, and they are not taken into consideration in the non-architectural treatises like the *Purāṇas* and the *Bṛihat-saṁhitā*. Even the broadest division into storeys, under which the *Mānasāra* describes the buildings in 12 or 13 chapters, has lost its prominence in the latter works.

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Thus the *Mānasāra* has the largest number of the types, namely, 98. The *Agni-Purāṇa* and the *Garuḍa-Purāṇa* have 45 types each. The *Matsya-Purāṇa*, the *Bhavishya-Purāṇa*, the *Bṛihat-saṁhitā*, and the *Kāmikāgama* have 20 types each. The *Suprabhedāgama* has the smallest number of types, namely, 10.

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The technical names of these types of buildings are, as we have seen above, common in many cases. We have also seen that in some instances the architectural details are identical. The lists of the *Agni-Purāṇa* and the *Garuḍa-Purāṇa* on the one hand, and the *Matsya-Purāṇa*, the *Bhavishya-Purāṇa* and the *Bṛihat-saṁhitā*, on the other, are strikingly similar. Of the works containing the lists of 20 types, the *Bṛihat-saṁhitā* has the best description. But in respect of brevity, explicitness and precision, the *Suprabhedāgama*, which contains the smallest number of types, surpasses all. And it happens that the smaller the types the better the description.

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The common names of the types, the identity of their details, and the similarity in the description may not be accidental. The grades in the linguistic style and in the explicitness and precision of the description do not seem unconnected. And the variations in the number of types of buildings treated in these works may not also be meaningless. But before hazarding an opinion it will be better to compare some of the other important points of similarity between the *Mānasāra* and the architectural portions of the other works.

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Amongst others, the three crucial features in architecture, at least so far as these ancient records are concerned, seem to be the measurement, the orders or columns, and the styles. Similarities in these respects are hardly accidental and may be ascribed to a common origin.

Measurements

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(*A*) The linear measurement is divided into six kinds¹.
(1) Māna, (2) Pramāṇa, (3) Parimāṇa, (4) Lamba-māna,
(5) Unmāna, and (6) Upamāna (M. LV. 3—9).

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¹ Measurement from the foot to the top of the head is called Māna (which is nothing but height). Pramāṇa is the measurement of breadth. Parimāṇa is the measurement of width or circumference (paritaḥ) Lambamāna is the measurement by the plumb-lines or the lines drawn perpendicularly through different parts of the body, the māna or the measurement of height being taken by the surface of the body. Unmāna is the measurement of thickness (nimna) or diameter. Upamāna is the measurement of inter-space (antara), such as that between the two feet of an image. Parimāṇa, unmāna and māna are also mentioned in the Śukra-nīti (I. 310), but their meanings are not quite clear.

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References to these measurements are met with also in non-architectural treatises, like the *Matsya-Purāṇa* (chapter 258, V 16), the *Suprabhedāgama* (paṭala, XXXIV. 35), as well as in the *Bimbamāna* (British Museum, Mss. 658, 5292, verse 9).

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(*B*) The primary measurement (ādimāna) refers to comparative measurements and is divided into nine kinds :

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The height of an image is determined by comparing it with the
(1) breadth of the main temple,
(2) height of the adytum,
(3) length of the door,
(4) measurement of the basement,
(5) cubit,
(6) tāla,
(7) aṅgula,
(8) height of the worshipper, and
(9) height of the riding animal (M. LV. 10—15).

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Each of the measurements is again divided into nine kinds (M. LV. 22).

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Under (1), (2), (3), (4), the proportions naturally vary on various occasions but the general methods are similar in these treatises; compare, for instances the *Suprabhedāgama* (XXXI 1—15).

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The aṅgula (finger breadth) and the hasta (cubit) (5?, 7) measures are in fact of the same class. The finger breadth, equivalent to ¾ inch, is perhaps the earliest unit of measurement invented by human brain. Though not liable to being lost in the course of time, it has its own defects, namely, the finger of two persons is hardly of equal breadth, and the finger of a person is liable to change owing to various natural causes. Apparently with a view to avoiding these defects finger-breadth is ascertained by the measures of certain other objects, atom, car-dust, hair-end, nit, louse, and barley-corn.¹ The largest size of finger breadth is stated to be equal to eight barley corns, the intermediate seven barley corns, and the smallest six barley corns. Again, for the same purpose, this standard measure is divided into three kinds—mānāṅgula, mātrāṅgula, and dehalabdhāṅgula. Of these, mānāṅgula, which is equal to eight barley corns, is meant to be the unit proper. Mātrāṅgula is the measure taken by the middle finger of the master who makes an image (or a building), dehalabdhāṅgula is the measure equal to one of the equal parts into which the whole height of a statue is divided for sculptural measurement.²

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¹ 8 atoms = 1 car-dust. 8 car-dusts = 1 hair-end. 8 hair-ends = 1 nit. 8 nits = 1 louse. 8 lice = 1 barley corn. 8 barley corns = 1 aṅgula

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² For further details see the writer's Dictionary under aṅgula.

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This aṅgula measure is practically the same in almost all the Indian works bearing upon measurement, for instance—

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(1) Mānasāra (II 40—45, 46—47, 48—52, 53—64, LXIV, 49—53, etc.).
(2) Bṛihat-saṁhitā (LVIII, 1—2).
(3) Siddhānta-śiromaṇi, ed. Bāpūdeva (p. 52).
(4) Rāja-vallabha-Maṇḍana, ed. Bhārati (Introduction)
(5) Brahmāṇḍa-Purāṇa (part I, section 2, chapter VII).
(6) Matsya-Purāṇa (chapter 258, verses 17—18).
(7) Vāstu-vidyā, ed. Gaṇapati Śāstri (I, 3—5f).
(8) Bimba-māna (Ms. British Museum, no. 558, 5292, verse 9f.)
(9) Suprabhedāgama (XX. 1—9, 10—16, 20—26, etc.).
(10) Kauṭilīya-Artha-śāstra, ed. Shama Śāstri (p. 106); compare also
(11) Manu-saṁhitā (VIII. 271).
(12) Rāmāyaṇa (VI. 20,22).
(13) Śata-patha-Brāhmaṇa (X, 2, 13, III, 5, 4, 5).
(14) Aitareya-Brāhmaṇa (VIII, 5).
(15) Chhāndogya-Upanishad (V, 18, 1, etc.).
(16) Śulva-Sūtra of Baudhāyana (J. R. A. S. 1912, 231-233, notes 1, 2).

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The *tāla-māna* (under 6) is a sculptural measure. The length of face inclusive of head is taken as the unit of measurement.¹ But it seems more convenient to have the particular span, namely, the distance between the tips of the fully stretched thumb and middle finger, which is technically called *tāla*, as the unit.² It admits of many varieties: ten *tāla* measures are mentioned in the Mānasāra³, while the Bimba-māna has reference to twelve kinds⁴. Each of these ten or twelve varieties is again divided into three types, namely, uttama or large, madhyama or intermediate, and adhama or small. Thus an image is of the ten (*daśa*) *tāla* measure when its whole length is ten times the face. In the large type of the ten *tāla* system, however, the whole length is divided into 124 equal parts which are proportionately distributed over the different parts of the body; in the intermediate type the whole length is divided into 120 equal parts, and in the small type into 116 equal parts. In the nine (*nava*) *tāla* system, the whole length would be nine times the face, in the eight (*ashṭa*) *tāla* eight times, and so forth.

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¹ Matsya-Purāṇa, chapter 258, verse 19. Mukhamānena kartavyā sarvāvayava-kalpanā.

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² Aṁśumadbheda of Kāśyapa, fol. 251. (Ms. Egg. 3148, 3012).

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³ One to ten tāla (M. LX. 6—35, etc.).

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⁴ One to twelve tāla (Appendix).

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The principle of the *tāla* measure is fundamentally the same in all the works dealing with the subject, although certain differences in matters of detail are noticed, compare, for instance,—
(1) Mānasāra (LX, 6—35, LVII, LIX, 14—64; 67—100; LXVI, 2—78; LXV, 2—179).
(2) Bimbamāna (verses 17—72, 91—138, and appendix X).
(3) Suprabhedāgama (XXXIV, 30—34; XXX, 31—40).
(4) Bṛihat-saṁhitā (LVIII, 4).
(5) Aṁśumadbheda of Kāśyapa (fol. 251, Eg. 3148, 3012).
(6) Bramhāṇḍa-Purāṇa (Part I, Anusaṁga-pāda, VII, 97).
(7) Matsya-Purāṇa (chapter 258, verse 19).

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The details of the *tāla* measures from the following authorities are given by Mr. Rao⁵:
(8) Śilpa-ratna.
(9) Aṁśumad-bhedāgama.
(10) Kā(?ki)raṇāgama.
(11) Vaikhānaśāgama.
(12) Kāmikāgama.

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⁵ Elements of Hindu Iconography by T. A. Gopīnāth Rāo, Appendix B, pp, 9—28.

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Another exclusively sculptural measure is that mentioned under (8), (9), namely, the height of an image is compared with the height of the worshipper (yajamāna), and the height of the riding animal (vāhana) is compared with the height of the main idol. Each of these admits of nine varieties. The height of an image may be equal to the full height of its worshipper, and may extend up to his hair-limit on the forehead (sometimes it is stated to be the eye-line), nose-tip, chin, arm-limit (to the shoulder), breast, heart, navel, and sex-organ. The height of the riding animal is in the same manner compared with the height of the main idol.¹

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¹ Mānasāra, LV, 30-33 etc.

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Corresponding to the abovementioned sculptural measures there are exclusively architectural measures also.

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The architectural *ganya-māna*² or the comparative heights of the component members of a structure corresponds to the sculptural *tāla-māna* or the comparative heights of the component limbs of a statue

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² See the writer's Dictionary, and compare the Mānasāra, XXVII, 36-40; XXIX, 35-38; XXXIII, 134-145, 216-117, 248; XLV, 86, 97-101; LIII, 29-34; XIII, 36-40, etc.

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The *ghana-māna* or the measurement by the exterior, and the *aghana-māna* or the measurement by the interior, of a structure-is also exclusively architectural³

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³ See the writer's Dictionary, sub voce.

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In another architectural measure the height of a structure is compared with its breadth. It admits of five proportions, technically called, Śāntika, Paushṭika, Jayada, Sarva-kāmika or Dhanada, and Adbhuta, the height being respectively equal to breadth, 1¼, 1½, 1¾, and twice of the breadth.⁴

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⁴ See the writer's Dictionary, under *Utsedha*. When a large number of absolute measures are prescribed for the one and the same object, the right proportion is selected by the test of six formulas technically called, āya, vyaya, ṛiksha, yoni, vāra, and tithi or aṁśa (see details in the writer's Dictionary under Shaḍ-varga).

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These latter items, highly technical and extremely minute in detail, are found in no other treatises under observation than the *Mānasāra*. Thus in respect of at least purely architectural and sculptural measurement the *Mānasāra*, of all these works, should occupy the first place.

The Five Orders

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Like the five Græco-Roman orders, Doric, Ionic, Corinthian, Tuscan and Composite, columns in ancient India also were divided into five main orders or classes In the *Mānasāra* ¹ they are called Brahma-kānta². Vishṇu-kānta, Rudra-kānta, Śiva-kānta, and Skanda-kānta. These divisions are based on the general shapes of columns. With respect to dimensions and ornaments the five orders are called Chitra-karṇa. Padma-kānta, Chitra-skambha, Pālikā-stambha, and Kumbhastambha. A sixth variety in the latter division is pilaster and not pillar proper, and is called Koshṭha-stambha and Kudya-stambha ³.

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¹ Chapter XV, 20-23, 31, 39, 40, 73, 204

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² Also mentioned in Corpus Inscriptionum Indicarum, volume III, p 252, 253; Epigraphia Indica, XII, p. 212, 216; V. 151.

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³ Mānasāra, XV, 84.

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Among the *Purāṇas*, these details are very clear only in the *Matsya-Purāṇa*. In this *Purāṇa*⁴ as well as in the *Bṛihat-saṁhitā*⁵ the five orders are called Ruchaka, Vajra, Dvi-vajra, Pralīnaka, and Vṛitta.

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⁴ Matsya-Purāṇa, chapter 255, 1-6.

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⁵ Bṛihat-saṁhitā, LVII, 27-30; also J. R. A. S. (N. S). VI, p 285, notes 1, 2

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Of the *Āgamas*⁶, the *Suprabhedāgama* contains the essential details. The names of the five orders according to this Āgama ⁷ are Śrī-kara, Chandra-kānta, Saumukhya, Priya-darśana, and Śubhaṅkarī; the last one is stated to be the Indian composite order, being compound of Saumukhya and Priya-darśana, just as the Græco-Roman composite order is a compound of Corinthian and Ionic.

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⁶ See, for instance, the Kāmikāgama, Paṭala XXXV, 24-27, 161, LV, 203, etc

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⁷ Suprabhedāgama, Paṭala, XXXI, 65-67

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Between the European and the Indian columns, however, there is obviously a striking point of difference. Of the Græco-Roman orders, the five names have been left unchanged, while in India the names of the five orders have varied in various treatises referred to above. It is true, all the same, that the criteria of divisions are essentially the same in the *Mānasāra*, the *Āgamas*, the *Purāṇas*, and the *Bṛihat-saṁhitā*. We have also seen above that the *Mānasāra* contains two sets of names of the five orders, one set referring like the *Āgamas*, the *Purāṇas*, and the *Bṛihat-saṁhitā*, to the shapes of the columns, or more precisely the shafts, while the other refers mostly to the capitals. The works other than the *Vāstu-śāstras* as represented by the *Mānasāra* have not kept this distinction clear. What we can reasonably infer from this as regards the mutual relation of these treatises will be further elucidated by a consideration of the component parts of the column. The question of variation of the names of the five orders in the Indian works can perhaps be explained. While in Europe the origin of the names of the five orders is traced to historical geography,¹ in India the names were based on the shapes of columns. And as the Indians are comparatively religious and poetical rather than historical in temperament and imagination, they chose mythological and poetical names according to the spirit of the times when these various works were composed. Thus in the *Mānasāra*, we see the orders bearing the names of mythological deities, Brahmā, Vishṇu, Rudra, Śiva, and Skanda; as well as called *Chitra-karṇa* (variegated ears), *Padma-kānta* (graceful like lotus), *Chitra-skambha* (of variegated shaft), *Pālikā-stambha* (edged like a measuring pot), and *Kumbha-stambha* (of jug-shaped capital); while in the *Āgama*, they bear highly poetical names—*Śrī-kara* (beautifying), *Chandra-kānta* (graceful like the moon), *Saumukhya* (of very charming face), *Priya-darśana* (sight-pleasing), *Śubhaṅkarī* (auspicious), and in the *Purāṇas*, and the *Bṛihat-saṁhitā*, they are called *Ruchaka* (beautiful, pleasing), *Vajra* (club, hence lasting), *Dvi-vajra* (doubly lasting), *Pralīnaka* (firmly attached, hence a pilaster), and *Vṛitta* (round, hence solid and dignified).

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⁸ See references given above, and for further details consult the writer's Dictionary under stambha.

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¹ Doric is derived from the species of columns first seen in the cities of Doria (Vitruvius, IV. 1). That species of which the Ionians (inhabitants of Ionia) were the inventors has received the appellation of Ionic (ibid). Callimachus constructed columns after the model of the tomb in the country about Corinth, hence this species is called Corinthian (ibid). The other two orders, Tuscan and Composite, are of Italian or Roman origin. The Tuscan order has reference to the country of Tuscany, formerly called, Etruria, in Italy (Gwilt encyclopædia of architecture, article 178).

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With regard to the names and the functions of the component parts of the column the variation is a little less marked. But these subservient parts, called mouldings and common to all orders, vary in number. Thus in the *Mānasāra*, which of almost all the treatises deals separately and exhaustively with the pedestal, the base, and the entablature, mention is made in connection with the pillar, of five mouldings² apparently of the shaft, namely, *bodhikā*, *mushṭi-bandhu*, *phalakā*, *tāṭikā*, and *ghaṭa*. The *Suprabhedāgama* describes two sets of seven mouldings,³ one set referring to the column of the main building and the other to that of the pavilion—*daṇḍa*, *maṇḍi*, *kaṇṭha*, *kumbha*, *phalakā*, *vīra-kaṇṭha* and *potikā*; and *bodhikā*, *uttara*, *vājana*, *mūrdhikā*, *tulā*, *jayantī*, and *tala*. These increasing number of mouldings have reached the significant number of eight in the *Matsya-Purāṇa*, the *Bṛihat-saṁhitā* and the *Kiraṇa-tantra*, and bears the very same eight names¹, to wit, *vāhana*, *ghaṭa*, *padma*, *uttoroshṭha*, *bāhulya*, *bhāra* (or *hāra*), *tulā*, and *upatulā*.

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² *Mānasāra*, XLVII, 16--18.

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³ Suprabhedāgama, Paṭala, XXXI, 56—60, 107—108.

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¹ Matsya-Purāṇa, chap. 255, 1—6f; Bṛihat-saṁhitā, VIII, 29—30; Kiraṇa-tantra, J. R. A. S. (N.S.) VI. 285, notes 1, 2 p.

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The significance of the number eight referred to above lies in the fact that the component parts of the Græco-Roman orders also are eight in number², and like the five orders themselves, their names are always the same ever since their introduction, though most of them have been given more than one name. They are called, (1) the ovolo, echinus or quarter round; (2) the talon, ogée or reversed cyma; (3) the cyma, cyma-recta or cyma-tium; (4) the torus; (5) the scotia or trochilos; (6) the cavetto, mouth or hollow; (7) the astragal; and (8) the fillet, listel or annulet.

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² See figures 867—874 and article 2532, Gwilt, Encyclopædia of Architecture; Glossary of archtiectural terms, Plate XXXIV.

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The *Mānasāra* refers to five mouldings; the *Suprabhedāgama* describes seven; and the *Matsya-Purāṇa*, the *Bṛihat-saṁhitā*, and *Kiraṇa tantra*, each, makes mention of eight mouldings. But if the very large number of mouldings³, described in the *Mānasāra* in connection with the pedestal, the base, and the entablature, be also taken into account, the *Mānasāra* will certainly exceed all other treatises under notice. Thus in the *Mānasāra* we can detect the following mouldings,—(1) abja, ambuja, padma or saroruha (cyma); (2) antara, antarita, antarāla or antarika (fillet), (3) aṅghri; (4) aṁśu; (5) argala; (6) ādhāra; (7) āliṅga; (8) āsana; (9) bhadra; (10) bodhikā; (11) dala; (12) dhārā-(kumbha); (13) gala, grīva, kaṇṭha or kandhara (dado); (14) ghaṭa; (15) gopāna-(ka); (16) hāra (bead); (17) janman (plinth); (18) kapota; (19) kampa, kampana (fillet); (20) karṇa; (21) kumbha; (22) kumuda (torus or astragal); (23) kendra; (24) kshepaṇa, (25) mushṭi-bandha; (26) mūla; (27) mṛiṇāla or mṛiṇālikā; (28) nāṭaka; (29) nāsī; (30) nimna (drip); (31) paṭṭa or paṭṭikā (fillet); (32) prati or pratika; (33) prati-vakra; (34) prati-vājana; (35) prati-bandha; (36) pratima; (37) pāduka; (38) prastara; (39) phalakā; (40) ratna, compounded with kampa, paṭṭa, and vapra; (41) tāṭikā;⁴

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³ See the writer's Dictionary, under *upapīṭha*, *adhishṭhana* and *prastara*.

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⁴ There are mouldings which bear a large number of names or synonyms, e.g.,

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(i) Kapota, prastara, mañcha, prachchhādana, gopāna, vitāna valabhī and matta-vāraṇa.
(ii) Prati-prastara, prati-vājana, anvaṅta, avasāna, vidhāna and vidhānaka.
(iii) Prati-rūpa, dalākāra, vijana, vājana, kshepaṇa, vetra, paṭṭa, uttara, paṭṭikā, kampa, trika, maṇḍa and antarita.
(iv) Tulā-daṇḍa, jayantī and phalakā.
(v) Kapota, vakra-hasta, lūpā, gopānaka and chandra.
(vi) Saṁgraha, mushṭi-bandha, maddala, udhṛita-hasta, valabhī and dhāraṇa.
(vii) Nāṭaka, anta, mṛiṇālikā, vallikā, chitrāṅga and kulikāṅghrika
(viii) Uttara, vājana, ādhāra, ādheya, śayana, udhṛita, mūrdhaka, mahā-tauli and svavaṁśaka.

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(42) tuṅga ; (43) uttara (fillet) ; (44) upāna (plinth) ; (45) vapra or vapraka ; (46) valabha or valabhī ; and (47) vājana (fillet).

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There are a number of compound mouldings also, such as, Kampa-karṇa, Karṇa-padma, Kshudra-kampa, Kshudra-padma, Kshepanāmbuja, Mahāmbuja, Padma-kampa, Ratna-kampa, Ratna-paṭṭa, Ratna-vapra, Vajra-paṭṭa, etc.

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Again, of all these treatises, only the *Mānasāra* and the *Āgamas* refer to certain highly technical and purely architectural matters. Thus in the *Mānasāra* we find the measurements and other details of sixty-four variety of bases divided into nineteen classes¹, called (1) Pāda bandha, (2) Uraga-bandha, (3) Prati-krama, (4) Kumuda bandha, (5) Padma-kesara, (6) Pushpa-pushkala, (7) Śrī-bandha, (8) Mañcha-bandha, (9) Śreṇī-bandha, (10) Padma-bandha, (11) Kumbha-bandha, (12) Vapra-bandha, (13) Vajra-bandha, (14) Śrī-bhoga, (15) Ratna-bandha, (16) Paṭṭa-bandha, (17) Kukshi-bandha, (18) Kampa-bandha, and (19) Śrī-kānta.

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¹ Mānasāra, XIV, 11–387. See details in the writer's Dictionary under *adhishṭhāna*.

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In the *Suprabhedāgama* only four classes² of bases are mentioned, namely, Padma-bandha, Cāru-bandha Pāda-bandha, and Prati-krama. The *Kāmikāgama* has only the general description of the base.³

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² Suprabhedāgama, XXXI. 17 f.

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³ Kāmikāgama, XXXV, 22, 33, 114, 116, 122 ; LV. 102.

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In the *Mānasāra* sixteen types of pedestals are described in detail under three classes⁴, namely, Vedi-bhadra, Prati-bhadra, and Mañcha-bhadra.

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⁴ Mānasāra, XIII, 37–127. See details in the writer's Dictionary, under *upapīṭha*.

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Only scanty information of the pedestal is found in the *Kāmikāgama*⁵, the *Suprabhedāgama*⁶, and a Tāmil version of the *Mayamata*.⁷

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⁵ Paṭala, XXXV, 115, 122.

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⁶ Paṭala, XXXI, 12

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⁷ Essay on the Architecture of the Hindus, Rām Rāz, pp. 23, 26.

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As regards the entablature, various mouldings and their measurements are described under eight classes in the *Mānasāra*.⁸ The *Kāmikāgama*⁹, the *Suprabhedāgama*¹⁰ and the *Vāstu-vidyā*¹¹ have only briefly referred to the general description of the entablature.

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⁸ Chapter XVI, 22–119. See details in the writer's Dictionary under *prastara*.

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⁹ XXXV, 27–29 ; LIV. 1–4, 7–8, 9–46, 47.

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¹⁰ XXXI, 68–71, 72–74

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