Annals and Antiquities of Rajasthan, or the Central and Western Rajput States of India v2.c27.s7.t6.7

v2.c27.s7.t6.7

art, are developed. Like all these portions of Hindu architecture, their ornaments are very complex, and the observer will not fail to be struck with their dissimilarity; it was evidently a rule in the art to make the ornaments of every part unlike the other, and which I have seen carried to great extent. There may be forty columns but no two are alike. The ornaments of the base are peculiar, both as to form and execution; the lozenges, with the rich tracery surmounting them, might be transferred, not inappropriately, to the Gothic cathedrals of Europe. The projections from various parts of the shaft (which on a small scale may be compared to the corresponding projections of the columns in the Duomo at Milan), with the small niches still containing the statues, though occasionally mutilated, of the Pontiffs of the Jains, give them a character which strengthens the comparison, and which would be yet more apparent if we could afford to engrave the details.¹ The elegant Kamakumbha, the emblem of the Hindu Ceres, with its pendent palmyra-branches, is here lost, as are many emblematical ornaments, curious in design and elegant in their execution. Here and there occurs a righly carved corbeille, which still further sustains the analogy between the two systems of architecture; and the capitals are at once strong and delicate. The central vault, which is the largest, is constructed after the same fashion as that described at Nadol; but the concentric annulets, which in that are plain, in this are one blaze of ornaments, which with the whole of the ceiling is too elaborate and complicated for description. Under the most retired of the compartments, and nearly about the centre, is raised the mimbar, or pulpit, whence the Mulla enunciates the dogma of Muhammad, "there is but one God": and for which he dispossessed the Jain, whose creed was like his own, the unity of the Godhead. But this is in unison with the feeling which dictated the external metamorphosis. The whole is of the same materials as already described, from the quarries of the Aravalli close at hand, which are rich in every mineral as well as metallic production:—