223. Kait Iswara, Hullabîd. (From a Photograph by Capt. Tripe.)
It is, however, surpassed in size and magnificence by its neighbour, the great temple at Hullabîd, which, had it been completed, is one of the buildings on which the advocate of Hindu architecture would desire to take his stand. Unfortunately, it never was finished, the works having been stopped by the Mahomedan conquest in 1310 A.D., after they had been in progress apparently for eighty-six years. It is instructive to observe that the single century that elapsed between the execution of the sculpture of the Kait Iswara and of this temple, was sufficient to demonstrate the decay in style which we have already noticed as an inherent characteristic of Indian art. The sculptures of Hullabîd are inferior to those of the Kait Iswara, and those of that temple, again, to those at Baillûr.
224. Plan of Temple at Hullabîd. Scale 50 ft. to 1 in.
The general arrangements of the building are given on the annexed plan ([Woodcut No. 224]), from which it will be perceived that it is a double temple. If it were cut into halves, each part would be complete with a pillared porch of the same type as that at Baillûr, above referred to, an anterala or intermediate porch, and a sanctuary containing a lingam, the emblem of Siva. Besides this, each half would have in front of it a detached, pillared porch as a shrine for the Bull Nundi, which, of course, was not required in a Vaishnava temple. Such double temples are by no means uncommon in India, but the two sanctuaries usually face each other, and have the porch between them. Its dimensions may roughly be stated as 200 ft. square over all, including all the detached pavilions. The temple itself is 160 ft. north and south, by 122 ft. east and west. Its height, as it now remains, to the cornice is about 25 ft. from the terrace on which it stands. It cannot, therefore, be considered by any means as a large building, though large enough for effect. This, however, can hardly be judged of as it now stands, for there is no doubt but that it was intended to raise two pyramidal spires over the sanctuaries, four smaller ones in front of these, and two more, one over each of the two central pavilions. Thus completed, the temple would have assumed something like the outline shown in the woodcut (No. [225]), and if carried out with the richness of detail exhibited in the Kait Iswara ([Woodcut No. 223]) would have made up a whole which it would be difficult to rival anywhere.
