ONE HUNDRED STEREOSCOPIC 
 
 ILLUSTRATIONS OF ARCHITECTURE 
 
 AND NATURAL HISTORY 
 
 IN WESTERN INDIA 
 
 PHOTOGRAPHED BY MAJOR GILL 
 
 AND 
 
 DESCRIBED BY JAMES FERGUSSON, F.R.S. M.R.4& 
 
 I T f I I-L-I I i'-fi 
 
 LONDON: 
 
 CUNDALL, DOWNES, & COMPANY, 16S, NEW BOND STREET. 
 
 1864. 
 
PRINTED 
 
 LONDON I 
 
 BY R. CLAY, SON, AND TAYLOR, 
 BREAD STREET HILL. 
 
INTRODUCTION. 
 
 HERE are few among the monuments of antiquity regarding whose 
 
 -L history or uses so much uncertainty prevailed, till a very recent 
 period, as those known as the Rock-cut Temples of India. When Europeans 
 first became acquainted with them, they were so struck by their monolithic 
 grandeur, and the apparent eternity of duration that resulted from it, that 
 they jumped at once to the conclusion that they must be among the most 
 ancient monuments of the world, rivalling in this respect, as was then sup¬ 
 posed, even those of Egypt. There was also a mystery hanging over their 
 deserted condition, added to the fact that almost all of them were situated 
 in remote and lonely valleys, or cut into the bare mountain-side ; which, 
 with other circumstances, conspired to render them the most attractive, as 
 they certainly were the grandest, relics of the arts of the ancient Hindoo 
 
 races. 
 
 In consequence of all this, the wildest theories were adopted with regard 
 to their antiquity and the purposes for which they were originally intended. 
 These might have continued in vogue till the present day had not James 
 Prinsep, between the years 1830 and 1840, opened a new era in our know¬ 
 ledge of Indian antiquities, and introduced new modes of investigation, 
 which soon led to most important results. 
 
 Among the first fruits of his labours was the decipherment of the Great 
 Buddhist inscriptions, which exist all over Northern India, from beyond the 
 Indus at Kapur di Giri to the shores of the Bay of Bengal at Cuttack. 
 
 This discovery led to a thorough investigation of the Buddhist literature 
 of Ceylon by the Hon. Mr. Tumour, and the consequent fixation of the 
 date of the birth of Sakya Muni, the founder of that faith, in or about the 
 year 623 B.C., and of his death eighty years later, in 543. It was also then 
 ascertained that Buddhism did not become a prevalent, still less a state 
 
IV 
 
 Introduction. 
 
 religion, till 300 years afterwards, in the reign of Asoka. As all the earlier 
 excavations belong to this faith, an initial date was thus obtained, beyond 
 which it was impossible to carry back the antiquity of any of the Rock-cut 
 Temples then known or since brought to light. Subsequent researches have 
 more and more confirmed the conclusions then arrived at; and there seems 
 no reason for doubting but that the whole series of Indian Rock-cut Temples 
 were excavated in the fourteen centuries which elapsed between the time 
 when Dasaratha, the grandson of Asoka, excavated the “Milkmaid’s Cave” 
 in Behar, about 200 years B.c. and the completion of the India Subha by 
 Indradyumna at Ellora, in the twelfth century after our era. 
 
 As might naturally be expected from their locality, the oldest group of 
 these caves is that at Raja Griha in Behar, being close to the original seat 
 of Buddhism, and where it first rose into importance. They extend from 
 200 b.c. to the destruction of the Andhra dynasty in the fifth century of 
 our century. 
 
 Next to these is the Cuttack series, beginning about the same time, but 
 ending earlier in so far as Buddhism is concerned, but continued through a 
 Jaina series of much more modern date. These are the only two groups 
 known to exist in Bengal. 
 
 On the western side of India, the Cave at Karli is apparently not only the 
 oldest, but the finest known to exist. It is situated on what is now. and 
 probably was then, the great high-road between the plains of the Deccan 
 and the Harbour of Bombay, which we know to have been an important 
 Buddhist locality, from the number of caves that still exist around it. But 
 the most complete and interesting series known is that of Ajunta, which are 
 fully illustrated in this volume. They extend from the first century B.c. to 
 the tenth or eleventh A.D., and present every variety of style of Buddhist art 
 prevalent in India during that important period. 
 
 Next in importance to these is the well-known group at Ellora, consisting 
 of three series :—First, a Buddhist group, which may probably be as old as 
 the seventh, but more probably belongs to the eighth or ninth, century. After 
 these comes a Hindoo series, lasting through the next two centuries, and 
 closing with a Jaina group of the eleventh or twelfth. They form thus a 
 singular contrast with those at Ajunta, where all belong to one religion; 
 though it may be a question whether the variety of the one series is not as 
 interesting as the uniformity of the other. 
 
 Architecturally the Ellora caves differ from those of Ajunta in consequence 
 of their being excavated in the sloping sides of a hill, and not in a nearly 
 perpendicular cliff, from this formation of the ground almost all the caves 
 at Ellora have courtyards in front of them. Frequently also, an outer wall 
 of rock with an entrance through it is left standing, so that the caves are 
 not generally seen from the outside at all, and a person might pass along 
 their front without being aware of their existence unless warned of the fact. 
 
 Besides these, there is a very important and interesting series of caves at 
 
Introduction. 
 
 v 
 
 Kennari, in the island of Salsette, in Bombay Harbour—wholly Buddhist, 
 and of various ages,—and the well-known Hindoo cave of Elephanta, of the 
 eighth or ninth century. 
 
 In the Ghats above Bombay there is another important series, at Juneer; 
 a Buddhist group at Baug, in Malwa; one partly Buddhist and partly 
 Brahmanical at Dhumnar; and several others less known, but which still 
 remain to be examined and described. 
 
 Only one important group is known to exist in the Madras Presidency, 
 that at Mahavellipore, on the coast, south of Madras. They are compara¬ 
 tively modern, and may be as late as the thirteenth century of our era. 
 They present a curious mixture of Brahmanical and Buddhist forms of 
 architecture, but cannot bear comparison either in extent or interest with 
 those existing in the Bengal or Bombay Presidencies. 
 
 Altogether, it has been calculated there may be in India i,oco excavations 
 of this class—nine-tenths of which are Buddhist, and the remaining ioo 
 divided between the Brahmanical and Jaina religions. They thus form not 
 only the most numerous, but the most interesting series of architectural 
 remains existing in India before the Mahomedan Conquest. In fact, they 
 are the only ones that serve to illustrate the Arts or History of the period 
 to which they belong. The structural monuments erected during the early 
 centuries of our era are scarce, and widely scattered over the whole area 
 of the country, and few even of these are in the state in which they were 
 originally erected ; whereas one of the great merits of cave architecture is 
 that it remains unchanged and unchangeable during the whole period of its 
 existence. 
 
 All the Buddhist caves we know of belong to one of two classes. They 
 are either Viharas or Monasteries, or they are Chaitya caves or churches,— 
 the former being, as might be expected, by far the most numerous. The 
 oldest Viharas consist of one cell only ; little hermitages, in fact, for the 
 residence of a single ascetic. In the next class they were extended to a 
 long verandah, with one long cell behind it. As these had, however, 
 several doors opening outwards, they probably were divided by partitions 
 into cells internally. 
 
 In the third, and by far the most numerous class, the cell expands into a 
 hall, generally with pillars in the centre ; and around this the cells of the 
 monks are arranged, the abbot or prior generally occupying cells at either 
 end of the verandah. 
 
 In ancient times, no sculpture or images were introduced into the Viharas; 
 but as early, certainly, as the first or second century of our era we find a 
 chapel always facing the principal entrance, and in it an image of Buddha : 
 afterwards side chapels were added, with images of saints; and in those 
 groups of caves which had no Chaitya cave attached to them we find a 
 dagopa, or stone altar, occupying the chapel in the centre. 
 
VI 
 
 Introduction. 
 
 Chaitya caves, on the contrary, are always exclusively devoted to cere¬ 
 monial worship, and in every feature correspond with the choir of a 
 Romanesque or Basilican church, the climate apparently enabling them to 
 dispense with the nave, or place of assembly for the laity. As mentioned 
 above, the typical example of this class is the great cave of Karli. 
 
 Externally there was always a porch or music gallery, more or less 
 developed; within this, a feature corresponding with our rood-screen. 
 This is always covered with sculpture, and access was obtained to the choir 
 through one or three doors with which it was pierced. Internally, over 
 the entrance, is the part corresponding with the rood-loft, and over this is 
 the great window or chancel arch, through which light is admitted to the 
 building. 
 
 The end, opposite the entrance, always terminates in an apse, the centre 
 of which is occupied by the dagopa or stone altar, a simulated tomb, 
 containing, or supposed to contain, a relic of Buddha or of some of his 
 saints. 
 
 The whole is always surrounded by an aisle or procession path, separated 
 from the choir by a range of pillars ; over that is generally a triforium belt, 
 not pierced, but ornamented either by painting or sculpture. From this 
 belt springs the semicircular roof. In the oldest Chaityas, this was always 
 ornamented with wooden ribs attached to the rock, and at Karli these still 
 remain. At Kennari, the wooden tenons still stick in the rock ; but in 
 most cases they are replaced by stone ribs cut out of the rock. 
 
 As the Brahmans excavated caves only in order to signalize their triumph 
 over their enemies the Buddhists, and had no real purpose to guide them, 
 their excavations are more varied in character, and not so easily classified. 
 Generally speaking, however, they too may be divided into two classes— 
 pseudo-Viharas and Temples. 
 
 "lhe first of these resemble true monasteries at first sight, being caves 
 with flat roofs supported by pillars, sometimes nearly similar to Buddhist 
 excavations in arrangement. They are distinguished, however, from these, 
 by having no cells or any arrangements for residence, the wall spaces 
 between the pillars being invariably occupied by sculpture or niches for its 
 reception ; and instead of the chapel, or dagopa, there is generally either a 
 small temple or a figure of Siva or Vishnu. Even without sculpture, how¬ 
 ever, there are peculiarities of plan in Brahmanical excavations which at 
 once betray their origin to any one familiar with the architectural arrange¬ 
 ment of Buddhist Viharas. 
 
 The Brahmanical temples are still more unlike the Buddhist examples, as 
 these are invariably exteriors, and have consequently no meaning when cut 
 in the lock. In almost every case they have also the disadvantage of 
 standing in a pit, the rock being dug out all round, leaving them in the 
 midst of the excavation. The one exception to this rule is the example of 
 
Introduction. 
 
 vii 
 
 the Raths at Mahavellipore. There the Brahmans found a group of granite 
 boulders lying on the seashore, and have carved them into the form of 
 temples, having all the appearance of structural edifices with the advantage 
 of monolithic durability ; but the parts being all copied from edifices con¬ 
 structed with small stones, no apparent grandeur of effect results from this 
 cause. The Kylas at Ellora and the temple at Dhumnar are, on the 
 contrary, hid from view externally, and when looked at from above, lose 
 half the effect due to their dimensions. When standing in the pit, how¬ 
 ever, and looking up at them, there is something in the seclusion, and an 
 effect of eternity in the simple wall of rock enclosing the richly-carved 
 temple, which goes far to redeem these faults, and renders them, on the 
 whole, much more impressive than structural temples of even greatly 
 increased dimensions. 
 
 The Jaina temples are so few as hardly to require classification, and have 
 no architectural peculiarities by which they can be distinguished. Their 
 arrangements partake principally of that of the Brahmanical caves ; indeed, 
 it is only by their sculpture that they can be distinguished from them. They 
 are interesting, however, from the circumstance of their belonging to the 
 most florid period of Hindoo art; and they were also fortunate in being 
 excavated at a time when even the Brahmans had become so familiar with 
 monolithic architecture as to have abandoned most of the faults inherent in 
 direct imitation of structural edifices. 
 
 In the year 1845 Captain—now Major—Gill was appointed by the Court 
 of Directors of the East India Company to copy the paintings in Ajunta ; 
 a task for which he proved himself thoroughly competent, by the artistic 
 skill displayed in the copies of these paintings which he has sent home, 
 as well as by the truthfulness and fidelity which pervade all he has 
 done. 
 
 The pictures sent home by Major Gill during the first few years of his 
 residence at Ajunta are now exhibited in the Indian Court of the Crystal 
 Palace at Sydenham, and convey a perfect idea of the style of the paintings 
 at Ajunta; but unfortunately they have not been accompanied by any 
 explanation, or any indication of the localities in which they are found. 
 The only attempt to elucidate their history which has yet been published, 
 will be found in Mrs. Spier’s “Life in Ancient India,” published in 
 1856. 
 
 For many years past no further drawings have reached this country, but 
 instead, Major Gill sent home in the spring of last year to Mr. Layard 
 nearly two hundred stereoscopic views of Indian subjects. 
 
 These were partly scenes of the chase, of Indian life, and illustrations of 
 the Mahometan buildings and of the scenery in the neighbourhood 01 
 Ajunta, as well as illustrations of the Rock-cut Temples of Western India. 
 
Introduction. 
 
 viii 
 
 The present series consists of sixty-two stereoscopic views of the Cnves, 
 twenty-four illustrative of Indian structural architecture, and fourteen of 
 scenes of the chase. 
 
 The text which accompanies the photographs of the Temples is not 
 intended to be a complete and scientific elucidation of the subject. Those 
 who desire fuller information are referred to the special works published 
 regarding them: but it is hoped that it is sufficient to render the subject of 
 each Photograph intelligible. This seems to be all that is necessary, for 
 the Photographs tell their own story far more clearly than any form of 
 words that could be devised, and even without the text they form by far 
 the most perfect and satisfactory illustration of the ancient architecture of 
 India which has yet been presented to the public. 
 
 so, Langham Place, 
 October , 1863. 
 
 JAMES FERGUSSON. 
 
CONTENTS. 
 
 
 PAGE 
 
 Bridge and Town of Ajunta.i 
 
 Another View of the Bridge and Entrance to the Town of Ajunta 2 
 
 Head of Ravine.—Ajunta. 3 
 
 The First Seven Caves at Ajunta.4 
 
 Southern Group of Caves.—Ajunta.5 
 
 The Oldest Group of Caves.—Ajunta. 6 
 
 The Oldest Chaitya Cave at Ajunta.7 
 
 Chaitya Cave No. 10.—Ajunta. 8 
 
 The Oldest Vihara.—Ajunta.9 
 
 The Oldest Vihara.—Ajunta.10 
 
 Vihara No. 11.—Ajunta.11 
 
 Exterior of Vihara No. 14.—Ajunta.12 
 
 Verandah of Cave No. 16.—Ajunta.13 
 
 Exterior of Vihara No. 17.—Ajunta.14 
 
 Verandah of Cave No. 17.—Ajunta.15 
 
 Aisle in Hall of Vihara No. 17.—Ajunta.16 
 
 Porch of Chaitya No. 19.—Ajunta.. . 17 
 
 Great Window of Chaitya No. 19.—Ajunta.18 
 
 Lower Part of Fagade of Chaitya No. 19.—Ajunta .... 19 
 
 Lower Part of Fagade of Chaitya No. 19.—Ajunta .... 20 
 
 Interior of Chaitya No. 19.—Ajunta.21 
 
 Roof of Chaitya No. 19.—Ajunta.22 
 
 Triforium of Chaitya No. 19.—Ajunta.23 
 
Contents. 
 
 PAGE 
 
 Triforium of Chaitya No. 19.—Ajunta.24 
 
 Choultrie attached to Chaitya No. 19.—Ajunta.25 
 
 Hindoo Sculpture. Chaitya No. 19.—Ajunta.26 
 
 Cave No. 20.—Ajunta...27 
 
 Fagade, Cave No. 7.—Ajunta.28 
 
 Fagade, Cave No. 5.—Ajunta.29 
 
 Fagade, Cave No. 4.—Ajunta.30 
 
 Sculpture in Verandah of Cave No. 4.—Ajunta.31 
 
 Exterior, Cave No. 2.— Ajunta.32 
 
 Verandah, Cave No. 2.—Ajunta.33 
 
 Verandah, Cave No. 2.—Ajunta.34 
 
 Fagade, Cave No. I.—Ajunta.35 
 
 Fagade, Cave No. 1.—Ajunta.36 
 
 Fagade, Cave No. 1.—Ajunta.37 
 
 Fagade, Cave No. I.—Ajunta.38 
 
 Verandah, Cave No. 21.—Ajunta.39 
 
 Cave No. 22.—Ajunta.- 4 ° 
 
 Facade, Cave No. 23.—Ajunta.41 
 
 Fagade, Cave No. 24.—Ajunta.42 
 
 Lower Part of Fagade at Chaitya No. 26.—Ajunta .... 43 
 
 Upper Part of Fagade No. 26.—Ajunta.44 
 
 Exterior Viswakarma,—Ellora.45 
 
 Exterior Viswakarma.—Ellora.46 
 
 Exterior Viswakarma.—Ellora.47 
 
 Teen Tal.—Ellora.48 
 
 Dus Avatara.—Ellora.49 
 
 Dus Avatara.—Ellora.50 
 
 Ravana Ka Kaie.—Ellora.51 
 
 Kylas.—Ellora ..52 
 
 Vimana, Kylas.—Ellora . ..53 
 
 Kylas.—Ellora.. 
 
 Cloister, Kylas.—Ellora .. 33 
 
 
Contents. xi 
 
 PAGE 
 
 Bas-Relief, Kylas.—Ellora.56 
 
 Bas-Relief, Kylas.—Ellora.57 
 
 Doomar Lena Cave.—Ellora.58 
 
 Doomar Lena Cave.—Ellora.59 
 
 Indra Subha Cave.—Ellora.60 
 
 Indra Subha Cave.—Ellora.61 
 
 Indra Subha Cave.—Ellora.62 
 
 Tomb of Rabia Douranee.—Aurungabad.63 
 
 Tomb of Rabia Douranee.—Aurungabad.64 
 
 Tomb of Rabia Douranee.65 
 
 Tomb of Rabia Douranee.66 
 
 Tomb of Rabia Douranee.67 
 
 Tomb of Rabia Douranee.68 
 
 Tomb of Rabia Douranee.69 
 
 Tomb of Rabia Douranee.70 
 
 Tomb of Rabia Douranee.71 
 
 Tomb, of Mosuffer Safi.72 
 
 Tomb of Mosuffer Safi.73 
 
 Tomb of Mosuffer Safi.74 
 
 Tomb of Mosuffer Safi.75 
 
 Tomb of Mosuffer Safi.76 
 
 Tomb of Mosuffer Safi . 77 
 
 Jain Temple, Amvah.78 
 
 Jumna Musjid, Aurungabad.79 
 
 Jumna Musjid, Aurungabad.80 
 
 Mosque in Old Palace at Rozah, near Aurungabad . . . . Sr 
 Shah Gunge, or Great Market House, Aurungabad .... 82 
 
 Shah Gunge.83 
 
 Monument to Rajah Raie Sing.S4 
 
 Entrance to the Garden of the Tomb of Peer Ismail, Aurungabad 85 
 
 Mausoleum of Peer Ismail, at Aurungabad.86 
 
 Mahurrum Mummers.87 
 
Contents. 
 
 xii 
 
 PAGE 
 
 88 
 
 Mahurrum Mummers.. 
 
 View in the Valley of the Taptee. 8 9 
 
 Florikan and Painted Partridges . .. 9 ° 
 
 Painted Rock Pigeons. 9 1 
 
 The Black or Honey-Eating Bear of India. 92 
 
 Dying Hound and his Sympathizing Attendants. 93 
 
 Tiger in his Lair.. 
 
 Tiger in the Jungle. 95 
 
 Tiger in the Jungle. 9 ^ 
 
 Leopard creeping on his Prey. 97 
 
 Rock Pigeons. 9 8 
 
 Sportsman and Tiger. 99 
 
 Dead Leopard, his Killer and Photographer.ioo 
 
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ANOTHER VIEW OF THE BRIDGE AND ENTRANCE TO THE TOWN OF AJUNTA. 
 

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THE FIRST SEVEN CAVES AT AJUNTA. 
 
 The lower or northern group of Caves. The first Cave on the left of the picture is that known as No. 7. Next to it is tlie 
 two-storied Cave numbered as 6. No. 4 is seen on the same level as its lower storey, and on the level of its upper storey are seen the 
 three magnificent Viharas known as Nos. 1, 2, and 3. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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 ' 11,1 . . 11 I 1 '"' I' I* Ml il mini m 1 1, mill II jinimu"'.. » uu m lll|iliiu n .uni nn |mlullli|in Ii diii u lili Ii mi n|i||||nu m In il . 
 
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Number 17, or, as it is generally called, the Zodiac Cave, very much resembles the last described in almost every respect. Its 
 dimensions aie 64 ft. by 63 ft. and it has twenty pillars disposed in the same manner as in the other. It is not, however, so lofty, 
 and the details of the pillars are by no means so graceful or well designed as in No. 16. The paintings which adorn every part of the 
 Vihara are much more entire than in any other Cave of the series, and though the colours in some places are a good deal faded, they 
 are preserved to such an extent at least that their subjects can generally be made out. 
 
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View taken from the upper gallery, showing the construction of the roof, which still retains the wooden forms of ribs with a ridge 
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The last of this group is a small Vihara of somewhat singular plan. Its dimensions are 28 ft. 2 in. wide, by 25 ft. 6 in. deep. It 
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 resembling that of the capitals in the interior of Cave No. 19, though somewhat better executed. 
 
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SCULPTURE IN VERANDAH OF CAVE No. 4.— AJUNTA. 
 
 The wall at the back of the verandah is sculptured instead of being painted, as is usual at Ajunta, and an evidence for the 
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 than with Buddhist art. Its presence, however, gives a richness of effect to this verandah which is wanting in the others, where t e 
 paintings have been washed off, from the exposed nature of their situation. 
 
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The third of these caves is called the Dus Avatara, after the ten Avatars of Vishnu; is a two-storied cave, very like the other two 
 in architectural detail and arrangement, but essentially Hindoo in its sculptures. 
 
 Tho upper story is a splendid hall, measuring ioo feet each way ; the roof supported by 44 pillars spaced equally over the floor, 
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 honour of Siva and Parvati; and in the sanctuary, in the centre of the inner wall, is his emblem, the Lingam. 
 

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 whole are sculptured with such boldness and freedom, that they not only are singularly appropriate to their situation, but are as 
 favourable a specimen of Hindoo art as applied to animal sculpture as is to be found at Ellora. 
 

 
 
 
 
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scenes of domestic life and occupations. 
 

 
After the Kylas, the Doomar Lena is the finest Brahmanical Cave at Ellora, and in some respects it is in better taste than that 
 celebrated temple. Its architectural details belong to the Northern style, and very closely resemble those of the Cave at Elephanta in 
 Bombay Harbour, which is probably of about the same age as this one, both belonging to the ninth or tenth century of our era. 
 

DOOMAR LENA CAVE.—ELLORA. 
 
 In plan this Cave is nearly a square, measuring 150 feet each way, and its roof is supported by twenty-six free-standing columns, 
 and by a cella which occupies the position of four more. It is well lighted, being situated in a spur of the hill, which admits of light 
 being introduced on three sides. It is complete in all its architectural details, but its sculptures do not seem to have been carried 
 out to the extent originally intended. 
 
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This view represents part of the interior of one of the principal chambers of the Indra Subha Cave. The whole group consists 
 of six different apartments, arranged in two stories, and so varied in style of decoration, as well as in arrangement of plan, as to 
 make up one of the most interesting combinations among the Caves at Ellora 
 

Another view of the Indra Subha Cave at Ellora, looking outwards and showing more clearly the beauty of the architectural 
 details. These from their massiveness are not only appropriate to Cave architecture, but seem to have been especially invented for 
 the purposes of rock-cut structures in this comer.of India, as nothing at all like them exists elsewhere. They have all the solidity of 
 the Egyptian and all the grace and elaborate decoration of the Indian styles. 
 

 
 
While residing at Aurungabad between the years a.d. 1650 and 1657, Aurungzebe, having lost his favourite daughter Rabia 
 Douranee, determined to erect a monument to her memory which should rival the celebrated Taje Mehal at Agra, which had just 
 been finished by his father Shah Jehan, in memory of his wife Mumtazah Mehal. The age of decline in architecture as a fine art had 
 then set in so rapidly, that though this must still be considered a very beautiful building, it is in every respect mfenor to its 
 celebrated rival. 
 

 
 
The enclosure of the Tomb occupies about twenty acres; the building itself is 72 ft. square, which is also the height of the four 
 minarets at the angles. The material of the lower part of the building is white marble, but the upper part is stone, and it is in 
 some places covered with chunan. The Dome, however, is of marble, and similar in form to that of the Taje at Agra, of which 
 celebrated building this was intended to be an exact copy. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 / 
 
 
 
TOMB OF RABIA DOURANEE. 
 
 View of the building seen over the external enclosure walls, which surround a garden, thirty acres in extent, ornamented with 
 fountains and kiosks in all the picturesque variety of Indian art. 
 

 
 
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 found at Agra, and marvels of mechanical dexterity of execution. 
 

TOMB OF RABIA DOURANEE. 
 
TOMB OF RABIA DOURANEE. 
 

 
 
 
 
 
 * 
 
 
 
 
 
 
 
 

 TOMB OF RABIA DOURANEE. 
 
TOMB OF RABIA DOURANEE. 
 
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TOMB OF MOSUFFER SAFI. 
 
JAIN TEMPLE, ANWAH. 
 
 The Temple at Anwah is a fine specimen of a style of architecture practised by the sect of Jains throughout the whole of the 
 western portion of India, from the tenth to the thirteenth century. It isremarkable for its delicacy, and the extreme elaboration of its 
 details, in which it surpasses, perhaps, any style that was ever attempted. Some of the examples of this age are also so large as to 
 produce an impression of great grandeur. 
 
JUMNA MUSJID, AURUNGABAD. 
 
 This Mosque consists of nine Arches in front; five of these were erected by Malik Amber when he founded the city, then called 
 Kirkee, in the beginning of the seventeenth century. Four more were added by Aurungzebe, who in the year 1650 made the place t le 
 capital of the Mogul dominions in the Deccan, and fixed his residence there for more than seven years, changing its name to 
 Aurungabad, “ the place of the throne,” in commemoration of the event. 
 
JUMNA MUSJID, AURUNGABAD. 
 
 Though the design of the Mosque is plainer than that of any of Aurungzebe’s own buildings, it is solid and in very good taste , 
 more like the buildings at Beejapore than those of the degenerate age in which it was completed. The roof is supported by twenty-four 
 pillars of stone, dividing it into twenty-seven equal compartments, each covered by a small domical vault of simple but e egant c esign. 
 

 
 
 
 
 
 
 
 
 
 
 
 
MOSQUE IN OLD PALACE AT ROZAH, NEAR AURUNGABAD. 
 
SHAH GUNGE, OR GREAT MARKET HOUSE, AURUNGABAD. 
 
The Great Market erected by Aurungzebe at Aurungabad, and one of the most splendid edifices of its class to be found in any 
 part of India. 
 
.Monument to rajah raie sing. 
 
 This Cenotaph was erected at Hurrool, near Aurungabad, in honour of Rajah Raie Sing, one of the Aurungzebe’s Rajpoot Generals. 
 
ENTRANCE TO THE GARDEN OF THE TOMB OF PEER ISMAIL, AURUNGABAD. 
 

 
 
 
MAUSOLEUM OF PEER ISMAIL, AT AURUNGABAD. 
 
MAHURRUM MUMMERS. 
 

 
 
 
 
 
 
 
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 MAHURRUM MUMMERS. 
 

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VIEW IN THE VALLEY OF THE TAPTEE. 
 
 A VIEW taken in the plain, looking towards the ghats, and exhibiting the character of the jungle, which the Tiger loves to frequent. 
 
4 
 
 FLORIKAN AND PAINTED PARTRIDGES. 
 
PAINTED ROCK PIGEONS. 
 
4 
 
 THE BLACK OR HONEY-EATING BEAR OF INDIA. 
 

 
 
 
 
 
 
 
 
 
 

 DYING HOUND AND HIS SYMPATHIZING ATTENDANTS. 
 

TIGER IN HIS LAIR. 
 
TIGER IN THE JUNGLE 
 

 
 
 
 
 
 
 
 
 
 
 
!* 
 
 *r- 
 
 TIGER IN THE JUNGLEl. 
 

 
 
 
 
 
LEOPARD CREEPING ON HIS PREY. 
 
ROCK PIGEONS. 
 

 
 
SPORTSMAN AND TIGER. 
 
DEAD LEOPARD, HIS KILLER AND PHOTOGRAPHER. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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