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The volume is extremely interesting, the illustrations charming and the text learned and informing. One cannot, however, fail being struck by the vaunted personal glories depicted in monuments of the Moghul era, as compared with the Puranic and religious friezes in Hindu monuments.

‘The best thanks of all lovers of true art and of Indian Archeology are due to

Dr. Vogel and to the Director-General of Archeology for this precious publication. A.V. R.

Hyderabad Archaeological Report 1918-19.

Thee Report before us fully maintains the high level of excellence characterising Mr. Yazdani’s productions. Mr. Yazdani was engaged mainly in surveying the Qutb Shahi monuments in Hyderabad City and supervising important conservation work in Aurangabad during the year. The survey of the Qutb Shahi monuments given in the Report is very interesting and the combined influence ot the Persain and North Indian Mussalman and the Hindu architectural styles on these buildings is sketched with a master-hand. The conservation work included the group of Jain and Brabminical caves in Oosmanabad, and the tomb. of Ali Barid, and the great College of Mahmud Gaivan at Bidar. ‘The most important undertakings under this head, however, related to the Buddhist caves at Pitalkhora and Ajanta. ‘The three- fold problem of the preservation, reproduction and identification of the Ajanta frescoes was fully investigated in consultation with such distinguished experts as Sir John Marshall, M. Foucher, and Sir Aurel Stein. The fixing up of the frescoes has been commenced under the most expert Italian restoratewr, Signor L. Cecconi and an Assistant (Count Orsini) selected after much consultation by Sir John Marshall. His Exalted Highness’ Government have earned the undying gratitude of all lovers of Indian Art and students of Indian culture, by munificently commencing the above work and by the earnestness displayed in completing the arrangements for the other portions of the threefold task. We are delighted to learn that a “Guide to Ajanta’’ which will contain an authoritative account of the religious scenes depicted in the paintings and have a large number of illustrative plates, is being compiled by M. Foucher. When this guide and the portfolio of reproductions of the frescoes by the three colour photographic process to be prepared by Messrs, Stone & Son, London, are ready, all that is possible for human brains and hands to do, would have been done for securing “a permanent record of thesé magnificent and unique remains of ancient pictorial art whose value for the student of Eastern Art and of Buddhism, it is most unlikely, will ever be surpassed by any discoveries in the future”.

‘The report contains also a note relating to the prehistoric remains at Janampet in the Palancha Taluk, which richly merit further and close attention at the hands of the Archxological Department. The remains extend over a length of several

miles and is locally known as the burial ground of Rakshasas. [5