HINDU ART
ious edifices of Hindustan. The elongated Virgin at the Paris Notre Dame is almost as conventionalized as a Korean Kwannon. The representation of virtues and vices on the portal of the Savior at the Amiens Cathedral suggests the moralizing in woodwork on the walls of Nikko in Japan. And scenes from the Passion on the tympanum at Strassburg or from the Last Judgment on the tympanum of the north door in the Cathedral at Paris are oriented to the same psychological background as the bas reliefs depicting incidents in the holy career of Buddha with which the Stoopas (mounds) of Central India make us familiar, or of the Dalai Lama on the surface of the marble pagoda at Peking.
Further, it may be asked, can any Classicist rationally declare that the
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