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scenes in perfect Mughal style, viz., Indian musicians with harps, flutes, clarionets and
violins ; Indian acrobats, scenes of animal life, etc. Everything is of the most pleasing
design and execution, and of the most brilliant colours. Ample use was made of
silver and gold. When the artist painted the dress of Avalōkitēśvara, he seems to
have forgotten Buddhism altogether. Among the pictures we find Indian garden-houses
in full Mughal style, and Indian nobles (perhaps meant to be portraits of bKra-shis-
rnam-rgyal and his court) who look exactly like the Mughals themselves. This adapta-
tion of Mughal art to a Buddhist subject is probably unique. Interesting also is the
representation of lamas with dresses of various fragments patched together. Such
representations are found at Alchi among the old originals as well as among bKra-shis-
rnam-rgyal's renovated pictures. Among the frescoes of this hall we find also a row of
monks in yellow dress whose hats are of the shape of European soft hats with broad
brims. On the walls, there are many little stucco figures of the type of the thirty-
two figures at Tabo ; but it was impossible to count them.

(3) rNam-par-snang-mdzad.—This temple is a little to the north of the other
temples and quite hidden by other buildings. It is not shown to foreigners, and for
this reason I did not see it on my previous visits. I should not have seen it even this
time, had Mr. Chatterji not been at Alchi before me. It had been shown to him, and
when Puntsog, my Tibetan assistant, heard of it, he said to the monks : 'Mr.
Chatterji is the Maharaja's servant. We are King Edward's servants. What do you
think King Edward will say, when he hears that a temple was shown to Mr. Chatterji,
but was closed to his own servants?' This argument appealed to the monks, and the
doors of rNam-par-snang-mdzad were flung open. There is a little courtyard in front of
the temple with painted galleries. These frescoes are very rudely executed, and hardly
do credit to King bDe-skyong-rnam-rgyal who renovated this courtyard, according to
an inscription written on one of the walls in black ink. Fortunately for archæology,
the king did not attempt to renew the principal temple which seems to have remained
untouched since the days of its foundation in the 11th century. The temple hall con-
tains a great number of ink inscriptions in an ancient form of dbu-med characters. The
orthography employed shows that they must be contemporaneous with the Tabo
monastery inscriptions. One of them, near the door, seems to mention King Byang-
chub-sems-dpā who reigned in the first half of the 11th century. He calls himself
Nyag-ra, i.e. "warden," of the monastery, and in the inscription he gives admon-
itions to the monks. Besides the king's name, the epigraph contains also the names
of three famous lamas, his contemporaries, viz., Mar-pa, Al-lei-pa and 'aBrom-ston.
Whilst Mar-pa and 'aBrom-ston are widely known, Al-lei-pa was probably only a local
celebrity.¹ On the wall on the other side of the door, we find a well executed
picture of a king with his queen and son. Although there is no special inscription added
to this picture, it most probably represents King Byang-chub-sems-dpā with his wife
and son. My reason for this assertion is that both in the dGon-khang temple of Leh,