A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c8.8

c8.8

*Stūpas*, or 'topes', the 'dāgabas' of Ceylon—solid cupolas of brick or stone masonry—were constructed either for the safe custody of relics hidden in a chamber near the base, or to mark a spot associated with an event sacred in Buddhist or Jain legend. Until a few years ago the *stūpa* was universally believed to be peculiarly Buddhist, but it is now matter of common knowledge that the ancient Jains built *stūpas* identical in form and accessories with those of the rival religion. However, no specimen of a Jain *stūpa* is now standing, and our attention may be confined to the Buddhist series.¹ The early examples were of a hemispherical form. The great *stūpa* of Sānchī as it appeared before restoration is shown in Plate I, and as repaired by the Archæological Survey in Fig. 1. As time went on the height of the dome was raised, and by a series of gradual modifications the ancient model was transformed into a lofty tower, and ultimately into the Chinese pagoda.