The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.3

c7.s1.3

but the photographs, although annotated by numerous drawings, are almost unusable, because their scale has been too much reduced, and the text, ruined by strange theories, has lost nearly all value. The same remarks apply to the photographs of Sir Lepel GRIFFIN, *Famous Monuments of Central India*, and of H. COLE, *Preservation of National Monuments, India : Great Buddhist Tope at Sânchi* (1885), and to the text of F. C. MAISEY, *Sânchi and its remains* (London, 1892). Fortunately the moulding of the eastern gate, given to the « Museum für Völkerkunde » in Berlin, attracted in a very special manner the attention of Professor Grünwedel in Chapter V of his celebrated *Handbuch* (*Buddhistische Kunst in Indien*, 2d ed., Berlin, 1900; revised and enlarged by Dr. J. BURGESS, *Buddhist Art in India*, London, 1902, particularly pp. 72-74). We are in perfect agreement with the eminent archæologists of Edinburgh and Berlin as regards the method to be followed : at the same time, we must warn the reader once for all that on several points we have arrived at conclusions somewhat different from theirs. If this treatise marks any progress whatever in the interpretation of the Sânchî bas-reliefs, it is entirely due to the excellent direct photographs which Mr. J. H. MARSHALL has put at our disposal.]