different from Cave 1. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine motifs. Major carvings include that of goddess Hariti. She is a Buddhist deity who originally was the demoness of smallpox and a child eater, who the Buddha converted into a guardian goddess of fertility, easy child birth and one who protects babies. The paintings on the ceilings and walls of Cave 2 have been widely published. They depict the Hamsa, Vidhurapandita, Ruru, Kshanti Jataka tales and the Purna Avadhana. Other frescos show the miracle of Sravasti, Ashtabhaya Avalokitesvara and the dream of Maya. Just as the stories illustrated in cave 1 emphasise kingship, those in cave 2 show many noble and powerful women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior. Cave 3 Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. This is an incomplete monastery and only the preliminary excavations of pillared veranda exist. The cave was one of the last projects to start at the site. Its date could be ascribed to circa 477 CE, just before the sudden death of Emperor Harisena. The work stopped after the scooping out of a rough entrance of the hall. Cave 4 Cave 4, a Vihara, was sponsored by Mathura, likely not a noble or courtly official, rather a wealthy devotee. This is the largest vihara in the inaugural group, which suggests he had immense wealth and influence without being a state official. It is placed at a significantly higher level, possibly because the artists realized that the rock quality at the lower and