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292
THE INDIAN ANTIQUARY
[DECEMBER, 1918
(d) In Bakhira-it is a rectangle above the cable.
(e) In Allahabad-there is the so-called honey-suckle, etc. In most it is circular except at Bakhira where it is rectangular.
(N.B. What is called a honey-suckle ornament by some is called a palmette by Vincent Smith. Apparently they are not sure which plant it is supposed to represent).
In each case these decorations surmount "a bell capital "-so-called because firstly it is not a capital, and secnodly it is not a bell. The eye which does not trace in it a representation of a lotus-an inverted lotus must be singularly blind.
(iv) The Abacus, which is invariably zoophorous.
(a) In Sârnâth the animals are four lions.
(b) Saukisa-1 elephant.
(c) Lauria Nandangarh-1 lion.
(d)
Ditto
-1 bull.
(e) Bakhira
-1 lion.
We must discuss the general characters of these columns before we begin to ascertain whether there is any resemblance with Persian which the Persomaniacs fancy they have detected.
(a) These columns do not support any wall, or any cornice-there is not the faintest trace of any building anywhere. They are simply landmarks of the progress of the piety of the monarch. (b) They are all in grey sandstone. (c) They are highly polished and hence there is no scope for the addition of any kind of plaster, stucco or clay. (d) The high polish also negatives the superimposition of any colour. (e) Nor is there any reason to believe that they were encased in metal or enamel plate. (f) The technical quality of the whole is of a highly developed kind. It bears the stamp of the uttermost decadence, thus presupposing the existence of the two previous periods of art of this type-the classical and the primitive. The extraordinary realism of each detail cannot fail to attract notice, nor the infinite care which has been devoted to the delineation of each detail. The rapid and easy transition in any sculptured piece, from relief of one kind to another, from basso to mezzo, from mezzo to alto, without any abruptness, (vulgarly without chipping off a bit of a brittle material like sandstone), also the delicate modelling, e.g. of the legs and the body of the elephant, the geese, the tendrils (?) of the lotus-all are indications of an advanced stage of sculpture. The proportions which would make them classical sculpture are there, only the Promethean spark is absent. It is not primitive-because it is not in the least degree stiff. We must now come to details:
(1) Material.-Asokan columns are invariably made of monolithic grey sandstone. In Persia various materials are used-a limestone of good quality-some varieties are so hard as to deserve the name of marble-so fine, so hard and so close-grained. These rocks vary in colour-from light to deep-grey, with here and there yellowish and dark brown tones. Other materials-artificial stones, burnt brick, crude brick, also a kind of plaster-white and as hard as stone-are used (Perrot and Chipiez, pp. 47-48). It is clear that the materials used in Persia were different and there is no evidence that they were familiar with grey sandstone. It would have taken them some time to adapt themselves to the exigencies of the strange material. Their first attempt with a new material could hardly have yielded such "precious" products. It is one of the axioms of Art that a new material baffles the artist for ages, before it ultimately yields to him.
