bell of the dâgaba very little can be seen on account of the thick foliage of the jungle which now covers it; but it is quite apparent that, like the Abhayagiri, it was in the form of a semicircle springing from the base, and not as the Ruwanwelle and Miris-wattiya, a dome rising from a slightly bevelled cylinder.

This dâgaba has its three pâsâdas or procession terraces rising one above the other, and its four wings at the cardinal points. The wings are here larger in proportion to the dâgaba than the others built on the same principle as this, whilst the mouldings appear to have been copied from those of the Ruwanweli Dâgaba from the base to the bracket course, above which nothing remains, though it may fairly be supposed that the remaining portions were identical with the others. In most instances the pillars at each termination of the wings have not been cleared from débris, or are in such a ruinous state as to render it difficult to examine them closely those, however, which have been cleared and exposed to view show some beautiful carvings in various designs, some representing the human figure in rich drapery, others depicting birds amidst rich foliage, the whole very accurately treated. There are scattered about the platform of this structure several altars noticeable rather for their great size than from any peculiarity of construction. Leading up from this platform are a number of steps forty-two feet in width, reaching a procession-path nearly a hundred feet wide, and surrounded by a stone wall with a massive coping. This wall is built up of huge blocks of stone of almost every conceivable shape and size, yet all made to unite in one compact mass with the utmost precision, showing the existence of a considerable amount of skill in the workmen employed. Some of these blocks of stone measure ten to fourteen feet in length and from one and a half to four feet in width.

This dâgaba has but two guard houses, one on the west side, the other on the south, but both are splendid examples of ancient architecture. That on the south side is the most perfect, and presents a terraced pavilion with projecting

pedestals at its angles, and on either side of the fine flight of steps, ascending to it from the road, and from thence across the guard house, descending again to the procession-path, enclosed by the curiously constructed walls alluded to above, the pedestals were each surmounted by a fine vase, from the mouth of which issued a full-blown lotus-flower and four buds. The wing-walls to the steps, though carved, were somewhat plain; the janitor stones to the steps from the platform dâgaba and those of the guard-houses facing the dâgaba were dwakas, with the three-headed cobra. The janitor stones in front of the steps leading from the road of the south guard house are very curious, and different from any others to be seen in the place. They are not dwaka stones, but represent a grotesque figure of a man, different in each case, in a very peculiar posture, holding the stem of the lotus-plant in one hand while the other rests on his hip; these carvings, in very high relief, are quaint in their conception, and should be examined to be appreciated, as no description would convey a fair idea of them. That a similar pair of janitor stones existed in front of the west guard-house is quite possible, but nothing of them now remains.

The next dâgaba, and the last to be described, is the Sela Chaitiya, but it is so small, and is in so ruinous a condition, that very little can be said about it. The base of the dagaba was a square pavilion-like structure, of beautifully moulded stone, most of which is now thrown down and covered with the débris of the structure. The small portion of the moulded stone now to be seen shows a plinth some three feet in height, and a bold elegant base moulding, with a very fine cap finishing off flat at the top, being slightly above the pavement, which is reached by flights of stone steps on the east and south sides. These steps, though not large, are interesting, having the usual wing-walls of stone, the top of which are surmounted by the curious nondescript animals previously described, a plain moonstone being at the foot of the steps, with two dwâraka stones or janitors very richly carved. The platform was originally six feet square, and

the base of the dâgaba thirty feet, but the latter is now so much destroyed that only a heap of bricks and rubbish remain. It is not known by whom or at what date this dâgaba was built, but it is probably older than the Lankârâma, which Sir E. Tennant ascribed to the year 276 A.D. According to tradition in the neighbourhood, it was constructed to enshrine some bones of two monks, disciples of Buddha, who travelled as missionaries in Ceylon for a number of years after his death.

1 Dâ-gaba is the Sinhalese contraction of the Pâli Dhâtu-gabbha 'Reliccasket; but it is used exclusively of these solid bell-shaped domes.

2 Original height from the ground to the top of spire, 405 feet (Tennent, vol. ii. p. 621), that is to say, about ten feet higher than the topmost point of St. Paul's; the latter being only 396 feet high.

ART. VI.-Andamanese Music, with Notes on Oriental Music and Musical Instruments. By M. V. PORTMAN, Esq., M.R.A.S.

THE subject of Oriental Music is one which offers a large field for research, in which very little work has, as yet, been done.

The music of Arabia was very thoroughly investigated by Villoteau. Short papers have been written on the music of Persia. Eichhorn has written on the music of Afghanistan. Willard, and later Sir Sourindro Mohun Tagore, have described the music of Hindostan at some length. Javanese music has had some attention paid to it; and Père Amiot, and later, Tradescant Lay, and Van Aalst, have described the musical system of China. Many small notes have been made on the music of most Eastern countries; but these, even when they are really accurate, are generally mixed with a mass of extraneous matter in some book of travel, scientific paper, or report, so that they are not easily procurable. In order to investigate Oriental Music, it is necessary that the inquirer should be a musician, somewhat above the ordinary amateur grade, and should also be acquainted with the language and customs of the people amongst whom he is inquiring. What is really wanted in England is a complete and exhaustive collection of all the musical instruments used throughout the world by Oriental and Extra-European nations, and this collection should be accompanied by such a mass of information, that the facts regarding the music of these nations may be laid before the student in a complete and intelligible form. The Questions drawn up by the late Mr. Carl Engel, for "The British Association for the Advancement of Science," and published in "AnthropoVOL. XX. [NEW SERIES]

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logical Notes and Queries," will greatly assist the investigator. Full scores of Oriental orchestral music we are entirely without, and these should be accompanied, where possible, by the words of the songs, or plays, etc.

The Sacred music of Oriental nations would be a most interesting field for research, and a collection should be made of the treatises which the more civilised Asiatic nations possess on music.

In making these researches the greatest care is of course necessary. Engel's admirable work, "Study of National Music," might be consulted with advantage, and I should myself be glad to assist any inquirer.

The music of Asia may be divided into distinct branches, which have little or no connection with each other.

1. The music of pure aboriginal, and savage tribes.

2. The music of the Chinese.

3. The music of Siam, Burma, the Malay Peninsula, and Java.

4. The music of Hindostan, which differs greatly in different parts, and of which the ancient classical music, about which much has been written, and many fanciful theories have been evolved, differs almost entirely from the music performed in the present day.

5. The music of Persia and Arabia.

6. The music of Thibet and Nepaul.

Without going over ground which has been already traversed by others, I will give what little information I have been able to collect regarding these systems of music.

With regard to the first class, I have made considerable researches into the music of the Andamanese, a race of whom I have been for some years in official charge.

The Andamanese are decidedly fond of their own music, but do not care much for that of other nations. Even among themselves the songs of more distant tribes, which differ in rhythm and intonation, are not much appreciated. Foreign music merely attracts their attention as a novelty. Their ear is not acute for discerning small musical intervals.