Introduction.
In the third, and by far the most numerous class, Fig. 2, the cell expands into a hall, generally with pillars in the centre; and around this the cells of the monks are arranged, the abbot or prior generally occupying cells at either end of the verandah.
Fig. 2.
PLAN OF VIHARA NO. 2. AT AJUNTA. SCALE 50 FEET TO I INCH
In ancient times, no sculpture or images were introduced into the Viharas; but as early, certainly, as the first or second century of our era we find a chapel always facing the principal entrance, and in it an image of Buddha: afterwards side chapels were added, with images of saints; and in those groups of caves which had no Chaitya cave attached to them we find a dagopa, or stone altar, occupying the chapel in the centre.
Chaitya caves, on the contrary, are always exclusively devoted to ceremonial worship, and in every feature correspond with the choir of a Romanesque or Basilican church, the climate apparently enabling them to dispense with the nave, or place of assembly for the laity. As mentioned above, the typical example of this class is the great cave of Karli, of which is represented in plan on woodcut Fig. 3.
Externally there was always a porch or music gallery, more or less developed; within this, a feature corresponding with our rood-screen. This is always covered with sculpture, and access
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