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 occasion of a great victory, and bears a date corresponding to 496 A.D. The remaining sides of the temple are replete with artistic symbolism, the south aspect being specially striking. The central feature of this side is a triple doorway of wood, richly carved, and encrusted with plaques of beaten brass. The woodwork has been brilliantly painted— probably crudely so in the first instance, with raw reds and blues, greens and yellows—but the kindly hand of the Master Artist—Nature—has blended and softened the effect into a mellow harmonious whole. Two large and imposing stone elephants pose on pedestals in front of this rich colour scheme, their prominent parts picked out with vermilion, while above, a hanging brass lamp fringed with metal pendants sways and tinkles in the breeze. Around the courtyard fragments of sculptured deities lie in confusion, each receiving its share of devotion, being anointed with oil, adorned with flowers, or perfumed with incense, according to the impulse of the worshipper. Groups of pilgrims wander through with offerings, each individual bearing