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) v6.c37.54

v6.c37.54

In the limited space of a Preface no further elaboration would be justified. This pen-picture may be elucidated by a reference to the line-drawings and photographs (Plates II–XI, XXVIII, XXXII). But only a personal inspection, with some previous knowledge of the ancient and modern authorities, will enable one to judge for himself as to what extent the Svastika Mansion demonstrates the ancient principles, wherein lies its adaptation, what is its supporting authority, and finally, what is the resultant success. An ordinary visitor may, however, testify to its actual comfort and convenience. The writer himself would treasure the censure of a distinguished engineer, Mr. T. A. Otto, much as did Ardhendu Śekhar Mustofi, the chief actor in Dīnabandhu Mitra’s *Nīladarpaṇa*, who had the shoes of Pandit Iswara An Inside View of the Western Wing showing the Types of the Screen Work, Pillar, Parapet, and Railings Chandra Vidyāsāgara thrown at him, when, owing to the very realistic performance on a Calcutta stage of the atrocities of the indigo-planters, the Pandit was so provoked that he forgot that it was a mere play. Mr. Otto, who worked as a Government builder for some thirty years and gained familiarity as an officer of the Department of Archaeology with the Hindu and Muslim monuments, remarked that the Svastika Mansion is but a 'schoolmaster's exercise-book meant to illustrate the rules and regulations of Hindu architecture in a pleasing manner,' while some learned colleagues are delighted to call it the complementary volume of the *Mānasāra*.