 and to them, truly,
“nothing is common or unclean.” Their deities incarnate themselves in
all sorts of forms. Siva, according to one legend, for instance, even
taking the form of a wild sow, and suckling the young of the mother
which had been slain by the hunters. The second son of Siva rides upon
a peacock, the representative bird of India. The Zebu bull is sacred to
Siva, and in the Lingam is symbolised and revered the male and female
principle of generation, the root and source of all life on the earth.

In one place in the temple, between two of the columns, was a group of
the nine planets personified and placed around the sun—a golden sphere
in the centre. For each of these embodied planets might be found a
corresponding personality among the deities of the classical world.

Another striking thing about the Madura temple is the force of
realization and expression in the figure sculpture. Life-sized figures
of different gods and demons are carved in stone in front of the
columns in many of the halls of the temple, the columns themselves
frequently white-washed, while the figures are left in the untouched
stone and look in contrast like bronze figures, their elaborate detail
and undercutting emphasizing this suggestion. Indeed, the variety of
character, invention, as well as the vigour and freedom, governed by
a certain formalism, of some of this sculpture at its best reminds
one of European gothic sculpture in the Middle Ages, not only in its
symbolical and legendary aspect, but also its all embracing character
and sympathy with the life of the people. The type of the Hindu mother
appears, for instance, in one of the best of the figures carrying her
child on her hip, just as the native women do to this day, while a
suckling infant is suspended at her breast.

Mockery, if not humour, too, seems to come out here and there
sometimes, as in the dancing figure of a mocking musician playing on
his pipes.

A frequent subject is Siva presenting his sister in marriage to
Vishnu, and there are besides a number of curious legends connected
with the sculptures here, which are very various, and, of course, not
unfrequently become grotesque or monstrous under the influence of the
Hindu religious
and to them, truly, 
 “ nothing is common or unclean. ” Their deities incarnate themselves in 
 all sort of form. Siva, according to one legend, for instance, even 
 take the form of a wild sow, and breastfeed the youthful of the mother 
 which had been slain by the hunters. The second son of Siva rides upon 
 a peacock, the representative bird of India. The Zebu bull's eye is sacred to 
 Siva, and in the Lingam is symbolised and reverence the male and female 
 rationale of generation, the root and generator of all life on the earth. 

 In one topographic point in the temple, between two of the columns, was a group of 
 the nine planets personify and placed around the sun — a golden sector 
 in the centre. For each of these embodied planets might be found a 
 corresponding personality among the deity of the classical world. 

 Another striking thing about the Madura temple is the force of 
 realization and formula in the figure sculpture. Life - sized figures 
 of different gods and demons are carved in stone in front of the 
 columns in many of the hall of the temple, the columns themselves 
 frequently ashen - washed, while the digit are left in the untouched 
 stone and front in line like bronze figures, their elaborate detail 
 and undercut emphasizing this suggestion. Indeed, the variety of 
 character, invention, equally well as the vigour and freedom, governed by 
 a certain formalism, of some of this sculpture at its best reminds 
 one of European gothic sculpture in the Middle Ages, not only in its 
 symbolic and legendary aspect, but also its all embracing character 
 and sympathy with the biography of the people. The type of the Hindu mother 
 appears, for case, in one of the best of the figures carrying her 
 child on her hip, precisely as the native women do to this sidereal day, while a 
 suckling infant is suspended at her breast. 

 Mockery, if not humour, excessively, seems to do out here and there 
 sometimes, as in the dancing figure of a mocking musician playing on 
 his pipes. 

 A frequent discipline is Siva presenting his baby in marriage to 
 Vishnu, and there are besides a number of curious legends connected 
 with the sculpture here, which are very assorted, and, of course, not 
 unfrequently become grotesque or grotesque under the influence of the 
 Hindu religious
 anf to them, truly,
“nothing ir common or unclean.” Thxir deifies incxrnate themselves in
all sortd if foems. Siva, according to une legenf, for inwtanre, even
taking thx form on a wjpd smx, and suckling jhe young of the mother
whiwh hcd been slain by the hunters. The secjnd son ov Siva rides ukon
a keasock, nht representative bird of India. Ths Zebu uull is sacred yo
Siva, and in the Lingam id sylbolised and reverfd the male and demale
princiole of gentrction, the rkot and source of all life on tfe eaxth.

In one poaxe lt the templx, betwven two of thc columts, was s group of
the kine 'lanwts personified and pnaced around the son—a golden s'here
in the centre. Foe wach mf tvese wmbuditd 'lahets mlghv be found z
correspondung personality amomg nne deities or the slwssical world.

Another striking thing abolt tge Madura temple is the force of
realization wnd exprefsion in the figure sculpture. Life-sized figures
of diffxrdnt gjaw wnd demons are carved in stone in front of thq
dokukns in many of the halls pf tng temple, the culumns thsmselves
frequently white-wwshed, while tht figires are left in the untoucyed
stone and oook in contrast lnke bronze fngures, theit elaborate detail
and uudercufting emphadizing thjr suggestion. Indded, tve varieuh of
character, invqntion, as welk as thd vibour agd freedom, govevted by
a certain fogmalidm, of some ov this sculpture at its best reminds
one of Eutopaan gothic fculpbure in the Midqle Ages, not ouly in ics
symbulical and legendery aspect, btt also its anp embracing rharacter
wnd wympqthy wigf the life of yhe peoplv. Uhe type od the Hindu mother
eppexds, for instance, in one of the besy ow tre fmguref carrying hes
chiud um her hip, just aw the native women do to dhis day, while a
sucklimg infant us suspegded at her bteast.

Mockery, if nou humonr, too, seemx tj come out here and there
sometjmes, as ij tme dancing fidure of a mockiny musician playing on
his pipes.

A frequent subject is Siva kresenting his sister ln marriage vo
Vishgu, and thare are besides a nunber of curious ltgends connected
with ths scul[tured here, which are very various, and, of course, not
unfrequently become groteswue or monstrous uhder the pnfjbence os thx
Hmndu religious
and to them, truly, “nothing is common Their incarnate themselves all sorts of legend, instance, even taking form of a sow, and suckling the young of mother which had been slain by the hunters. The second son of Siva upon a peacock, the representative bird of India. The Zebu bull is sacred Siva, in Lingam symbolised and revered the male and female principle of generation, the root and source of all on the earth. In one place in the between two of the was a group of the planets and placed the golden in the centre. each of these embodied planets might be found a corresponding personality among the deities of the classical Another striking the Madura is force realization and expression figure sculpture. Life-sized figures of different are carved in stone in front of the in many the halls of the temple, the themselves frequently white-washed, while the figures are left the untouched stone and look in contrast like bronze figures, their elaborate detail and undercutting suggestion. Indeed, the variety character, invention, as as vigour freedom, by a formalism, of some of this sculpture at its best reminds one European gothic sculpture in the Middle Ages, not only in and aspect, but also all embracing character and with life of the people. of Hindu instance, one the best of the carrying her child on her just as the native while a suckling infant is suspended at her Mockery, if not humour, too, seems to out here and there sometimes, as in the dancing figure of a musician playing pipes. A frequent subject is Siva presenting his in marriage to Vishnu, there are besides a number of curious legends connected the here, which very various, and, course, not unfrequently grotesque or monstrous influence of Hindu
 and to them, truly,
“nothing is coMmon or unclEan.” ThEir DeiTiEs inCarnAte themselves iN
All sOrts of forms. Siva, accordiNg to oNe LEgenD, FoR instAnce, eveN
TaKINg tHe FoRm oF a WIlD sow, aNd sUckling The young of The MoTher
which had BEeN slain by thE huNters. The secoNd sOn of SiVa RidES upon
A peAcock, The repREsentaTive bird oF INDia. The zEbu bull IS SaCred To
Siva, and in the LinGAm IS symbolised and RevereD tHE mALE anD feMale
princiPlE of geNEration, THe ROOT anD Source of all liFe on the eartH.

in oNe placE iN thE Temple, BetweEn TWo oF the columns, Was a Group of
thE nine pLAnets peRSonifieD and plAceD arOund THe SuN—a gOlDEn sPHeRe
iN The Centre. FoR eAcH of thEse eMBODIed pLanEts mIght bE found a
corresPonDing PErsOnaliTy amoNg thE dEitieS of the ClassIcAl world.

Another sTrikIng thing aBouT tHe MAdUra teMPle is tHe fOrcE of
realIzation ANd eXpRESSiOn in the figure sculpTuRE. liFe-sized fIgures
OF dIfFErent godS aNd dEmonS ARe carVed iN StOne in froNt of thE
CoLuMns in maNy Of the hAlLs oF thE tempLE, the ColumnS themselVes
frEQuently white-waSHed, while the fiGUrES ArE Left In tHe untouched
StonE And lOok iN CoNtrASt likE bronZe FIgURes, their elaborate deTaIl
and uNdercUtting emphasiZing this suGGEStion. IndEed, tHE vARiety of
charactEr, invEntion, as weLL as the viGour aNd freedoM, governed BY
A certain ForMalIsm, Of sOME oF this sculpturE AT its BeSt reminDs
oNe of EurOpeAn gOthIc sCuLpture in tHe Middle agEs, NoT oNly In its
SYmbolicaL aNd lEgEndAry asPEct, but Also iTs alL eMbRAciNg charaCTeR
ANd syMpAtHy wiTh tHe Life oF the PEopLe. The tyPe of the HiNdu MOtheR
aPpEars, for Instance, in one Of The best of tHe FigUres caRRYing her
cHild on her hip, just as the naTIve womeN do To thiS day, While a
sucKliNg infaNt iS SuspenDed at hEr breAsT.

MoCKEry, if NOT hUmoUr, Too, seems to COMe oUt herE aNd thEre
someTimes, as in the dancinG FigUre of a mocking MusIciaN PLaYinG On
HIs pIpES.

A fREQuent subject is SIva presentInG HiS sister in mARriAgE to
VishNu, and thEre arE Besides A number of Curious leGeNds cONNecTed
with the SculpturEs here, whiCH are vERy VarioUs, aNd, of coUrSe, nOt
unfRequenTLy bEcome GrotesQuE or monStrouS uNder the iNfluence of the
Hindu religIous
 and to them, truly,
“noth ing is com mon o r u ncl ea n.”Thei r deities inca r nate  themselves in
all sor ts of  f o rms. Si va, a ccordin g  t o one  l eg end ,f or  inst anc e, even 
taking th e f or m of a wilds ow , and suck lin g the youngofthe mo th erw hichhad  been  slain by the  hunters.  T h e seco n d son o f Si va r ides upon
a peaco c k, the representa tive b ir d  o f Ind ia.  The Zebubu ll is sacredt oS i v a,a nd in the Lin gam is symb o lis ed and  r eve r ed the  male  a n d f emale
princ iple  of gener ation, the roo t  and so urce o f a lllife on  t heea r th. 
I n o n e p lace inth etempl e, b e t w e en t woof t he co lumns, was agro up o f 
th e nin e pla nets  p erson ifiedand p la ced around thesun— a goldensph er e
i nthe c e ntre.For  ea ch of t hese em b odi ed p l an ets might be found  a c or respondi ng per s on al i ty among  t hedeit i e s ofthec la ssical w orld.An ot her str ik ing th in g a bou t the Madu ra tem ple is t he fo r ce of
realizat i on and expres s io n in thefig ure sculptu re.L ife- size d  f igu r es
of  diff er e nt gods and demons are  c arvedin st one in frontof the
col u m n s in man y of th e  halls of thetempl e, the col u mns them selve s
freque ntly whit e - washed,whi lethe  fi g u re s are left in t he u nt ouchedsto ne andloo k i n c ont ra st like b ronze fi gu re s,  t hei r ela b orate de ta ilan d u nderc u ttingempha sizi ng  t h issuggest i on . Inde ed ,thevar ie ty of 
cha r act er, inv ention, a s w e ll a sth e vigou r and freedom ,governed b ya c ertain f ormalism , of some of this sculp t ure atits  best  rem inds
oneofEurope ang othicsculpt ure i nthe M iddle A ge s,no t only ini t s
s ymbol ic al a nd lege ndary aspect, buta lso  its all embr aci ng c h a ra cte r 
a n d s ym p ath y with the life o f the peop le .  T he type of the  H indu mo ther
ap pears ,  for in stance, i n one ofth e be s t  of  the figur es carry ing her
c h ild o n  h er hi p,just a sthe  nati ve wom e n d o tothis d ay , whil e a
s uc kling in fant is suspended at he r brea st.
Moc kery, ifnot hum our, too,  see ms to come  ou t h ere a ndt heresome t im es, as in  the dancing f i gu reo f  a  mocking mu s i c ian  play ing on
his  pip es.

A frequent s u bject is Sivapres e n tin g h i s si st er in marriage  to 
V i s hnu, and  t here are be sides anu m ber o f curi ous le gends c o n ne c ted
wi th t hesculpture s h er e , which  a re very v ario us , and,  of co u rse, n ot
unfrequentlybecom e grote s que  or m on strousu nder  the influ ence of the 
Hindu  rel igiou s
 and_to them,_truly,
“nothing is common or_unclean.” Their_deities_incarnate themselves_in
all_sorts of forms._Siva, according to_one legend, for instance,_even
taking the form_of_a wild sow, and suckling the young of the mother
which had been slain by_the_hunters. The_second_son_of Siva rides upon
a peacock,_the representative bird of India._The Zebu_bull is sacred to
Siva, and in the Lingam_is_symbolised and revered_the male and female
principle of generation, the root and_source of all life on the_earth.

In one place_in_the_temple, between two of_the columns, was a group of
the_nine planets personified and placed around_the sun—a golden sphere
in the centre. For_each of these embodied planets might_be found a
corresponding personality among_the deities_of the classical world.

Another striking_thing about the_Madura temple_is the force_of
realization and expression in the figure_sculpture. Life-sized figures
of_different gods and demons are carved_in_stone in front_of_the
columns_in many_of the halls_of_the temple,_the_columns themselves
frequently white-washed, while the figures_are_left in the untouched
stone and look in_contrast like bronze figures,_their_elaborate detail
and undercutting emphasizing_this suggestion. Indeed, the variety_of
character, invention, as well as the_vigour and_freedom, governed_by
a certain formalism, of some of this sculpture at its best_reminds
one of European gothic sculpture in_the Middle Ages, not_only in_its
symbolical_and legendary aspect,_but_also its_all embracing character
and sympathy with the life_of the_people. The type of the Hindu_mother
appears, for instance, in_one_of the best of the figures_carrying her
child on her hip, just_as the native women do_to_this_day, while a
suckling infant is_suspended at her breast.

Mockery, if not_humour, too, seems_to come out here and there
sometimes, as_in_the dancing figure of a mocking_musician_playing on
his pipes.

A frequent subject is_Siva_presenting_his sister in marriage to
Vishnu,_and there are besides a number_of curious legends connected
with the sculptures here, which are_very various, and,_of course, not
unfrequently become grotesque_or_monstrous_under the influence of the
Hindu religious