22 revealed in their inscriptions. And now Prithivisēna II gladly records the name and origin of his mother through whom "the bed of lotus of this family has been raised up ", to use the expression of Kākustha's inscription. Another daugther of Kakusthavarmma was married to a Ganga King of Mysore. We gather this information from several Ganga grants.23 According to them, King Avinita was a nephew of the illustrious Krishnavarmma "who was a sun in the firmament of the Kadamba family", through his mother who was a sister of the same Krishnavarmma. Now, Krishnavarmma was the son of King Kakusthavarmma. Therefore the mother of Avinīta was one of the daughters of the same Kākustha. From this we deduce that Avinita's father, Madhava II, was a contemporary of Krishnavarmma of Kuntala, and of the latter's brother Santivarmma. Yet Monsieur Jouveau-Dubreuil, who has adopted for Raghu the dates 410-42524 gives to his contemporary Madhava II the following: 540-565.25 I sincerely think that these dates need some correction. After considering all this, we cannot suppose that the Gupta married to a daughter of Kakusthavarmma was Chandra-Gupta II. If he had been so, he would have become the brother-inlaw of the wife (Mahādēvi Ajjhita-bhaṭṭārikā) of his grandson (Narendrasēna). Such a case may be possible indeed, but it is not probable. We are more inclined to think that ChandraGupta II sent the embassy to obtain a princess for one of his sons. Was this Prince Chandra-Gupta II's successor, the future Kumāra-Gupta I? We took for granted that one of the daughters of Kakusthavarmma married Narendrasēna in 445. Now Kamara-Gupta I seems to have died about 455 at a good ripe age. Hence, supposing that Kalidasa's embassy took place in 390, the marriage of Kumara-Gupta I with the 22 Cf. note 14. 2 Rice, Coorg Inscriptions, p. 51; Report of the Mysore Archaelogical Department, 1925, p. 85, v. 14; p. 90, v.7. 24 Jouveau-Dubreuil, o.c., p. 95. 25 Ibid., p. 107. Kadamba princess could have taken place during the last decade of the fourth century. It may be objected that there is too long a space between the marriage of these two sisters, one in 391-2 and another in 445. But while considering that the dates are only approximate, as also that the Hindu monarchs had many wives, we shall find it not improbable that the oldest daughter of Kakusthavarmma could be married in 391-2 and the youngest in 445. Was she Queen Who was this Kādamba princess? Anantadēvi of the Bhitari seal of Kumara-Gupta II 36 In the present stage of research we are not able to affirm it. Let it suffice meanwhile to have proved :-first, that the daughter of the Kadamba King Kākusthavarmma could not be a wife of King Samudra-Gupta; second, that this princess most probably was married to King Kumara-Gupta I, and third, that there can be no doubt as to the increasing importance of the Kadambas in the beginning of the fifth century. ▼. 5. Fleet, The Bhitari Seal of Kumaragupta 11, Ind. Ant., XIX, p. 225, II-A Survey of Indian Architecture By Monomohan Ganguly, Vidyaratna, B.E. In this age of steel and ferro-concrete, when the stream of architectural development has receded as it were from its original course though the old forms are still being applied more or less consistently with the principles of utility and cost, it will be worth our while to consider the principles of a type or system that has well-nigh disappeared and is struggling to express itself through a medium that is not promising. The work of these human beavers so felicitously expressed by Carlyle, has no doubt brought into prominence the constructive side of the building art; but its dignity, otherwise called by Ruskin the architectural honesty, has been impaired to a considerable extent. 1 look upon Indian architecture not from the standpoint of those who look back to a past age, with some of that wistful regret for what has disappeared and is outworn, as a fit theme for academic discussion prompted by a pious but passing impulse, but as a living art to be practised so as to fit in with our present ideal and necessity, not in the sense of architectural excrescence but as a part of an organic whole. Inspired by the above idea a petition, signed by more than a hundred eminent men of England consisting of the Members of Parliament, the Institute of British Architects and the Royal Society of Arts, etc. was presented to the Secretary of State for India for following the building traditions of India in reconstructing the City of Delhi. The study of Indian architecture has entered upon a new era since the passing of the Ancient Monuments Act by Lord Curzon for the protection and preservation of monuments, it being based on English acts and certain recent legislations in this connection in Greece and Italy, putting a stop to the spoliation of the remains of old; the passing of the Act has breathed fresh life into the dry bones of architectural information and is destined to bring to a happy termination the dispute re Indian Architecture which led Fergusson to write a diatribe against Raja Rajendra Lal Mitra in his Archaeology in India. The preservation of some temples, I am sorry, has been done in a very careless way, having no regard to the constructive, decorative and ecclesiastical peculiarities of the temples. It is also desirable to extend the operations of this act by some sort of treaty or agreement so that the monuments which cannot now be touched by the legislations can be brought within its operation. I shall never forget the wretched condition of the Mandapa of the Chalukyan temple at Honam Kunda near the fort of Warangal in the Nizam's dominions for a visit to which I had to spend two sleepless nights in a dirty musafir khana and a deserted wretched shed. The Nizam's Government, however, takes great interest in the preservation and restoration of ancient monuments. The State of Mysore, where I have extensively travelled, is also found to display an intelligent interest in this direction, but the carving of the inclined Chalukyau parapet of the twelfth century with its modern raised panels in the temple at Halebid is indicative of a perverted taste not in keeping with the spirit of preservation, which should perpetuate as far as possible the remains which are marked by an individuality which no skill in modernising them can restore. I should refer to the flaring ignorance or inadvertence evinced in the restoration of the temple of Parasurāmes vara and Bhaskerasvara of Bhabanesvara where the relative position of the Parsva Devatās has been reversed in their respective niches. The critical and historical study of Indian architecture has not been crowned with a measure of success commensurate with the amount of labour bestowed upon it. One of the main reasons for this failure is the destructive effect of some preconceived notions about its genesis and development occupying the minds of those who work in this field of research, a spirit quite contrary to that which should guide us in all our methods of enquiry. Regardless of the genius of the nation about its selfcontained and exclusive character so clearly manifest from the early dawn of history, a student of Indian architecture is taught to took upon the advent of the Greeks as an agency introducing lithic art and architecture in India. It has been remarked by Fergusson with reference to the Mauryan Chaitya cave at Bhājā in Western India that the wooden features noticed there, would or could not be used by any one familiar with constructions in stone. This with other observations has led Fergusson to conjure up the hypothesis of the introduction of lithic architecture in India by the Greeks. The Chalukyan Kirtti stambhas belonging to the twelfth century A.C. set up in the fort of Warangal in the Nizam's territory remind one of the Sañchi gateways belonging to the second century A.D. though they are widely dissimilar. Fergusson himself has observed that their main interest lies in their being the lineal descendants of the gateways at Sañchi. We thus find a continuity of the wooden form after a thousand years since the Sanchi gates were set up. No one can, therefore, reasonably think for a moment that the pillars of the twelfth century were the immediate successors of a wooden model. The tracery window in Sidi Sayyidi mosque at Ahmedabad shows distinct wooden features; if all such works except the one at Ahmedabad were to cease to exist owing to some cause or other, would it be consistent to deduce that such were first reproduced in stone from a wooden model or prototype in the sixteenth century? The existence of wooden features in a style or structure does not warrant the supposition that there is an immediate chronological relation between the latter and its prototype; wooden features are more or less noticeable in the structures of the present day. What have the advocates of Greek origin got to say to the remarks of Fergusson himself about the Maiji Sahiba's tomb at |