Lakkundi marked a high point of architectural and artistic accomplishment in the Vesara genre. Thereafter, many more innovations were introduced and increasingly sophisticated Kalayana Chalukya and Hoysala temples were built in the emerging Vesara-style through the 13th-century. Description The Vesara architecture departs from the Dravida architecture in the way it projects the bhadra, widens the sanctum (and mandapa), takes it ever closer to a rounded form, adds motifs and decoration to the outer walls, and how the temple aesthetically appears both outside and inside to the pilgrims. The Vesara form allowed the architect and artisans to add more narrative panels about the Epics, the Puranas, the Vedic legends, scenes of artha, kama, dharma (divine iconography) along with ornamentation and illustrations of different types of temple shikaras as aedicules to the outside and inside in contrast to the plain structures found in the Dravida temples of earlier centuries. Vesara architecture, thus marked a conceptual shift in both construction and how the visitor experiences the temple space. The Vesara style (if defined as beginning only with the Western Chalukyas in the late 10th-century) contains elements of both Dravida and Nagara styles. In particular the shape of the superstructure over the sanctum is usually pyramidal in profile, and shorter than the northern shikhara tower. In plan the walls and superstructure are broadly circular, or a straight-sided cone, though its geometry is based on rotating a square imposed on a circle. It has rather different decoration and motifs to either. A common motif is in fact miniature shikharas, often of the bhumija type, showing that the architects were well aware of northern styles. Like the southern vimana superstructure, the Vesara equivalent is strongly divided into storeys or steps, but there are more of them, and the kapota roof motif that is so common in contemporary southern vimanas is less dominant. George Michell describes a characteristic feature as "the obscuring of the outer profile of the building by multiplying the projections of the walls and superstructure; these move restlessly from one plane to another, relying upon effects of light and shade to lend the building its solidity and shape." There are generally prominent sukanasa projections from the tower on the roof over an antarala antechamber to the sanctum. The mandapa is generally larger than the sanctum and its vimana. Further open mandapas may be larger still. Temples with more than one shrine develop, especially those