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on Jaya group of goddesses and on a rare sculpture of Ballinátha; and Dr. H. D. Sankalia lias described Digambara Tirthankara images from Jaheśvara and Nevāsā. Dr. Prühn hias written some short articles on Jaina art and iconography, and they are published in the Jaina Vuga during the last two years.
I would like to announce a very important find in the field Di Jaina art. Only a few months back the Oriental Institute of the Paroda University has acquired a palm-lcas manuscript written in golden letters. It has 65 folios in 10" % 2" size, it is copied down by Jinadattasűri in V. S. 1210 ( 1154 A.D.) and written in the Devanagari script of the Jaina mode prevalent in Western India. The text copied down is Svamparaupyādisiddhi, , a mixed work in three languages, viz., Sanskrit, Präkrit and Apablirariba, like several other medieval Jaina texts. It is a commentary on a work called Siddhantopadesa or Siddhantalesa, and appears to be a treatise on Ayurveda. Palm-leaf manuscripts in golden letters from Burma and other countries are available, but as far as myself and some of my friends decply interested in the manuscript-wealth of our country are aware, this is the first palm-ical manuscript in golden letters known in India so far, aqrart from its subject-matter of peculiar interest. Put we may be sure that many more such manuscripts must have been written down, and we should make a thorough search to see if morc of such specimens still cxist in different part of Insta.
Yow, I may draw your attention to a few books and papers pertaining to Jaina philosophy, culture and history. In February 1959 Prajñácakşu Pt. Sukhalalji Sanghvi, one of the leading Darbunilas of our country whose works are an ideal comlination of modern methods and the highest traditional leam
ing, lias deliverol the Thakkar Vassonji Madhavji Lectures in v Gujarati at the University ni Bombay on the contribution of
Harihliadrasűri to the pliilosoplical and Yogic traditions of India. Panolitaji has based his observations mainly on six
