In front of it lies a splendid dolmen, or stone table, 26 ft. long, 4 ft. broad, and 2 ft. thick. It would be interesting to know if the dolmen rests on the ground, or is supported on three or more upright stones—most probably the latter. Like most of the Indian examples, it appears to be a squared and carved repetition of what in Europe we find only rough and unhewn. The carving on its border represents a number of hansas or sacred geese—always a favourite subject of the Buddhist sculptors.[246] At one end of this stone is engraved a representation of Sri, with her two elephants with their water-pots ([Woodcut No. 2]); and I fancy I can detect her also in other photographs elsewhere in Ceylon, but not so distinctly as to feel sure.
107. Round House, called Watté Dajê, in Pollonarua. (From Sir J. E. Tennent.)
Close to the Sat Mehal is a circular building, which, so far as is at present known, is unique. It may almost be described as a hollow dagoba, being a circular enclosure surrounded by a wall, but empty in the centre, at least containing nothing now. Originally, it may have had a shrine in its centre, or tabernacle of some sort, containing a relic or, more probably, a sacred Tree. It is surrounded by a procession-path, enclosed by a highly-ornamental screen, and beyond this by a second gallery adorned with a range of slender pillars, like those which surround the dagobas at Anuradhapura ([Woodcut No. 107]); below this, again, is a richly-carved stylobate.
Four flights of steps lead up to its procession-paths, more magnificent and elaborate than any others that have yet been discovered in Ceylon. They all have most elaborate moon stones to start from. Their risers are each adorned with twelve figures of dwarfs, and their side-pieces, or jambs, are also of exceptional richness, and each has a pair of Naga-headed dwarpals on each side of its upper flight. The photographs are sufficient to show that this is one of the most interesting buildings in Ceylon, as well as one of the richest in sculptural decorations; but unless the antiquities of Java throw some light on the subject, we must be content with ignorant admiration till some one capable of investigating its history visits the place.[247]
Besides these, there are in Pollonarua several of those groups of pillars, without roofs or walls, which we tried to describe in speaking of Anuradhapura. One, called the Audience Hall, seems to be very similar to those of the northern capital; another, known as the Hetti Vihara, is more extensive, and may really be the foundation of a vihara; but till we have plans and more details it is needless speculating on what they may or may not have been.
Although built in brick, and very much ruined, there still exist in Pollonarua a palace and a vihara—the Abhayagiri—which was really a residence, and whose examination would, no doubt, throw considerable light on the arrangement of similar buildings in India. That information might, however, be difficult to obtain, and, till the simpler and more monumental buildings are examined and drawn, its investigation may well be postponed.
Besides these, Pollonarua possesses another point of interest of considerable importance, though hardly germane to our present subject. Among its ruins are several buildings in the Dravidian style of architecture, whose dates could easily, I fancy, be at least approximately ascertained. One of these is called the Dalada Maligawa, apparently from its possessing at one time the tooth relic; for it is hardly probable that when migrating southward for fear of the Tamils they would have left their cherished palladium behind them. If it was sheltered here, and this was the first building erected to receive it, it would be a most important landmark in the very vague chronology of that style. Another, though called the Vishnu Deyanne Dewala, was certainly either originally, or is now, dedicated to the worship of Siva, as is testified by the presence of the bull alongside of it, and also apparently on its roof. But be this as it may, it is the lowest and flattest of those buildings I have yet met with, and more like a direct literal copy from a constructive vihara than even the raths at Mahavellipore ([Woodcut No. 181]). This may arise either from its being a copy of an actual vihara existing at the time it was built, or to its being very old. Those at Mahavellipore, even if older than this one, may have gone through certain stages towards their present conventional forms before they were cut in the rock. But more of this hereafter.
It is unfortunate for the history of architecture in Ceylon that the oldest and finest of her rock-cut temples—as those, for instance, at Dambul and Dunumadala Kanda—are only natural caverns, slightly improved by art; and those mentioned above, as the Isurumuniya at Anuradhapura, and Gal Vihara at Pollonarua, besides being comparatively modern, have very little architecture about them, and that little by no means of a good class. Generally speaking, what architecture these Ceylonese caves do possess is developed on applied façades of masonry, never of the same age as the caves themselves, and generally more remarkable for grotesqueness than beauty. Besides, the form of these caves being accidental, they want that interest which attaches so strongly to those of India, as illustrating the religious forms and ceremonies of the early Buddhists. Indeed, their only point of interest seems to consist in their being still used for the celebration of the same rites to which they were originally dedicated 2000 years ago.