CHAP. I. INTRODUCTORY. No. NAME. DISTINCTIVE SIGN. BORN. DIED. I Adi-natha or Rishabha . Bull . Vinitanagari . Ashtapada . 2 Ajita-natha Elephant Ayodhya . Samet Sikhar 3 Sambhava Horse . .Sravasti . 4 Abhinandana . Ape Ayodhya . 5 Sumati-natha - . * Curlew . 55 ' 6 Padmaprabha . Lotus . Kau-rambi 7 Suparjva-natha Swastika mark Benares . 8 9 Chandraprabha Pushpadanta Crescent-moon Crocodile Chandrapura . Kanandinagari 10 Sitala-natha .Srivatsa mark Bhadrapura ii 5reyamja-natha Rhinoceros . Simhapura 12 13 Vasapujya Vimala-natha . Buffalo . Boar Champapuri Kampilyapura Champapuri Samet Sikhar J 4 Ananta-natha . Falcon . Ayodhya . 15 Dharma-natha . Thunderbolt Ratnapun 16 .Santi-natha Antelope
Gajapura
17 Kunthu-natha . Goat or 18 Ara-natha Nandyavarta mark } Hastinapura . 19 Malli-natha Water-jar Mathura . 20 Munisuvrata Tortoise Rajagriha 21 Nami-natha Blue water-lily Mathura . 5 22 Nemi-natha Conch shell . Sauripura Mt Girnar . 2 3 Pamva-natha . Serpent Benares . Samet 5ikhar 24 Mahavira, or Vardhamana Lion Kundagrama . Pawapuri Among these the most frequently represented are the first, sixteenth, and last three. There are few of the problems connected with this branch of our subject so obscure and so puzzling as those connected with the early history of the architecture of the Jains. This style, always singularly chaste and elegant, was essentially Hindu, and was doubtless largely common to all Hindu sects in western India, but in its evolution it became modified by Jaina taste and requirements. And, the Brahmans in turn, through the influence of the workmen, gradually accepted most of the stylistic improvements of their rivals. This seems to have been more especially the case in Gujarat and Rajputana, where the Jains were very numerous and influential, and we might almost with equal propriety designate their style of architecture as a Western Hindu style ; but this would lead to the inclusion of examples of greater diversity, and interfere with clearness of treatment. When we first practically meet with it in the early part of the nth century at Abu, or at Girnar, it is a style complete and perfect in all its parts, evidently the result of long experience and continuous artistic
