History of mediæval art . the tholoi, andwas not without a certainmagnificence and the columns of thisstyle the four-sided con-sole capital is repeated attwo-thirds the height ofthe shaft {Fig. 80), servinghere as the impost of apeculiar strut, which pro-vided a support for themiddle of the horizontalbeam. The wide span ofthe architrave, renderedpossible by this rationalexpedient, was connectedwith a complicated ceilingconstruction, which form-ed, by a system of squaresalternately parallel to thesides and to the diagonalof the plan, a varied andpleasing system of buildings
History of mediæval art . the tholoi, andwas not without a certainmagnificence and the columns of thisstyle the four-sided con-sole capital is repeated attwo-thirds the height ofthe shaft {Fig. 80), servinghere as the impost of apeculiar strut, which pro-vided a support for themiddle of the horizontalbeam. The wide span ofthe architrave, renderedpossible by this rationalexpedient, was connectedwith a complicated ceilingconstruction, which form-ed, by a system of squaresalternately parallel to thesides and to the diagonalof the plan, a varied andpleasing system of buildings of the Jainastyle, commonly restrictedto moderate dimensions,thus attained a light and graceful character. On the other hand, numerous temples andchapels erected at various periods were often combined with asingle complex, so as to form an extended city of sacred holy mountain of Satrunjaya, near Palitana, and the buildingsat Girnar, not far from Puttun Somnath, are remarkable examplesof such aggregates. 10. Fig. 80.—Columns of the Jaina Style. a. From the so-called Ganthai atKhajuraho (seventh century). b. From the Temple of Gy-raspore (ninth century). 146 INDIA. A third style, differing both from that of the Buddhists and thatof the Jainas, is known by the name of Dravidian. This style wasemployed as well by the worshippers of Vishnu as by those of Siva,—the artistic work of these sects, which were otherwise so antag-onistic, being so similar that their sculptures are generally distin-guishable only by the subjects represented. The monuments ofthe Dravidians are not as old as those of the Buddhists. Thereare but few instances of works of this style dating to the fifth orsixth centuries, chief among which are the so-called Rathas of Ma-havellipore, near Madras; and even those of the eighth or ninthcenturies, such as the kylas buildings of Ellora and the great tem-ples of Purudkul (Pattadkul), are exceptional. Indeed, by far thegreater number of the monuments
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