tract between Indians and citizens of the United States, and all controversies between members of different tribes, as well as certain other cases specially enumerated. By the same act certain laws of Arkansas were extended over the Indian Territory. State courts have no jurisdiction over offenses committed by tribal Indians upon a reservation within the State.

It is the policy of the United States to exercise a general supervision over the affairs of the Indians and to protect them from the encroachments of unscrupulous whites, as well as from the evil consequences of their own ignorance and improvidence. Many statutes have been passed by Congress to prohibit hunting on their lands, to prevent cutting timber from their lands, or pasturing stock on them, to prevent the sale of intoxicating liquors to them, etc. Citizens of the United States of good moral character are

permitted to trade with Indian tribes, upon giving bonds. The power of appointing and licensing Indian traders, as well as prescribing rules concerning the kind, quantity, and prices of goods to be sold, belongs to the United States Commissioner of Indian Affairs. This officer is further empowered to remove from Indian reservations all persons found there contrary to law or whose presence is deemed detrimental to the peace and good order of the Indians.

Until 1832 the supervision of Indian affairs was intrusted to a bureau in the War Department. In that year Congress authorized the President to appoint a commissioner charged with general superintendence of Indian affairs. He has the direction of eight inspectors and a large number of superintendents, agents, teachers, mechanics, etc. Since 1849 the business of Indian affairs has constituted a bureau in the Department of the Interior. The most numerous officials in the Indian service are the agents, appointed by the President for a term of four years, who are required to give bonds. Their duties are to superintend the intercourse among Indians within their respective agencies and to execute the orders of the commissioner. An important feature of the Indian service is the edu

cational work. The President is empowered to employ capable persons to instruct the Indians in agriculture and to teach their children reading, writing, and arithmetic. By an act of 1882 he was authorized to appoint an inspector of Indian schools. The schools under Government control are the non-reservation training-schools and the reservation boarding and day schools. Besides these there are contract schools under the supervision of religious associations which receive Government aid. By an act of Congress passed in 1890, provision was made for field matrons who organize sewing-schools, weekly clubs, and Sabbath-schools among the Indians. In 1893 more than 21,000 Indian children were receiving the benefits of education, about twothirds being enrolled in Government schools. The number of Indians occupying reservations is 134,476. The annual appropriation by Congress for the Indian service usually exceeds $10.000.000. The policy now being pursued by the Government will result in the incorporation of all Indians in the body politic as citizens, and with it the Indian reservations will disappear, the individuality of the Indian will be recognized, and the paternal care and control now exercised by the United States will cease.

Consult: Annual Reports of the United States Commissioner of Indian Affairs; Weil, The Legal Status of the Indian (New York, 1888).

and its largest city, and the county-seat of Marion IN'DIANAPOLIS. The capital of Indiana County; on White River, in the centre of the State, 183 miles southeast of Chicago and 111 miles northwest of Cincinnati (Map: Indiana, C 3). It lies 700 feet above sea-level, in a broad, rolling plain. The surrounding region is rich in agricultural and mineral resources, and in forest trees of exceptional beauty. Large natural-gas and oil fields are tributary to it, and near by sides there are found in the vicinity of the are coal-lands 7000 square miles in extent. Becapital building-stone, marl, iron, and other minerals. Wholly an inland city, Indianapolis relies on railways for its commerce. Within 50 miles of the centre of population of the United States for the past two decades, its location has made it a great railway centre. Here terminate seven divisions of the Big Four system, six divisions of the Pennsylvania Railroad, two divisions of the Cincinnati, Indianapolis and Western Railway, the Lake Erie and Western, and the Monon, besides ten interurban electric systems. The railways bring their passenger trains into a handsome union depot, and the interurban lines have tion to cost over $1,000,000. contracted to erect a large union terminal staIndianapolis is carried over a belt railway, 151⁄2 Freight passing railway system represents an outlay of about miles long. It encircles the city. The street$9,000,000, with 125 miles of tracks, and a park (Fairview) containing 200 acres.

The city is noted for the beauty of its streets, ranging from 40 to 120 feet in width, and shaded mainly by hard maples and elms, and crossing at right angles. In the heart of the city is a circular plaza, once known as 'the Governor's Circle," and now called Monument Place, from which radiate four avenues to the four corners of the

city. The park system comprises 1250 acres, and includes Riverside, extending for five miles along both sides of White River; the Indiana Central Canal and Fall Creek: Garfield, Brookside, Military, Saint Clair, and University parks, and Woodruff Place. The most notable structure in Indianapolis is the Soldiers and Sailors' Monument, designed by Bruno Schmitz, of Berlin. It was erected by the State to commemorate the part Indiana bore in the wars of the Union. The monument is a shaft of stone and bronze 285 feet in height, surmounted by a figure of Indiana Triumphant. About the base are allegorical groups in stone representing war and peace, and beneath these are two great fountains. Near the monument are four subsidiary bronze statues of Gen. George Rogers Clark, Gen. William Henry Harrison, Gov. James Whitcomb, and Oliver Perry Morton. There is also a statue of Schuyler Colfax in University Park, and in the Capitol grounds one of Thomas A. Hendricks. A large fund has been raised for a memorial to Benjamin Harrison. The buildings most worthy of note are the Capitol, 492 by 185 feet, built of Indiana limestone at a cost of $2,000,000; the court-house, city hall, Federal arsenal, new postoffice (to cost $2.500.000), Christ Church, Manual Training High School and some of the commonschool buildings, Columbia Club, Commercial Club, the Claypool Hotel, the Propylæum, a wom

an's building devoted to literary and social purposes, and, perhaps the finest of all, the public library, with 100,000 volumes. Three of the city's bridges possess more than ordinary beauty; they span Fall Creek at Illinois and Meridian streets and at Central Avenue, and are of stone.

Indianapolis is the seat of the University of Indianapolis, with an academic department known as Butler College, and departments of law, medicine, and dentistry. Here are also a Roman Catholic theological seminary, a negro Baptist college, a college under the control of the United Brethren Church, the Heron Art Museum and Art School, the State institutions for the education of the deaf and dumb and for the blind, a number of medical, dental, and law schools, etc. Public philanthropic institutions are numerousa State reformatory for women, a State hospital for the insane, and many smaller hospitals, homes, and refuges for the sick and unfortunate. The public-school system includes, besides common schools, an academic high school and a manual-training high school, and a normal training-school. Its inventory of assets amounts to $2.398,766; its indebtedness (July 1, 1902), $868,000; its annual budget (1901), $934,337. Although far inland, Indianapolis is a port of entry and a point for the receipt and distribution of foreign as well as domestic commerce. Its chief articles of trade are grain and its products, live stock, meats, and the output of its extensive manufactories-milling machinery, engines, drugs, vehicles, furniture, bags, woolens, starch, and terra-cotta.

The

The government of the city is vested in a mayor, a council of twenty-one members (fifteen elected by wards and six at large), and a police judge, all chosen biennially. Appointments to the subordinate administrative departments are made by the Mayor. A school board of five, elected by popular vote and serving four years, governs an independent school corporation through an educational executive, the superintendent and a business executive (termed business director) each serving four years. municipal budget (1901), including school expense, balances at about $2,700,000, the main items being: For fire department, $194,000; for police, $160,000; for parks, $100,947; for light, $113.273; for public health, $54,154; for water, $90,000. The tax valuation of all property, at perhaps three-fourths actual value, is $129,000,000, and the total debt of the city, exclusive of school debts, is about $2,300,000. Population, in 1850, 8091; 1860, 18,611; 1870, 48.244; 1880, 75,056; 1890, 105.436; 1900, 169,164. The population in 1900 included 17,100 foreign born and 15,900 negroes.

Settled in 1819, Indianapolis received its name in 1821, and became the capital on January 1, 1825, the seat of government being removed from Corydon. The opening of the first railroad in the State from Madison, on the Ohio River, occurred on October 1, 1847, and gave the little town its first impetus. The growth since 1889, when the introduction of natural gas revolutionized manufacture in Indiana, has been remarkable. Here Henry Ward Beecher served as pastor of the Second Presbyterian Church (1839 to 1847); Benjamin Harrison made Indianapolis his home from 1856 until his death. in 1901. Consult: Indiana Gazetteer (Indianapolis, 1849); Nowland, Early Reminiscences of Indianapolis

(Indianapolis, 1870); Sulgrove, History of Indianapolis and Marion County (Philadelphia, 1884). INDIAN ARCHIPELAGO, är'ki-pěl'à-gō. See MALAY ARCHIPELAGO.

INDIAN ARMY.

British Empire, and EAST INDIA ARMY.

See ARMIES, section on

INDIAN ART. India cannot compete with the peoples of Western Asia in the antiquity of its existing monuments, largely because the earliest constructions were of wood, as is shown by the report of Megasthenes, Greek Ambassador of King Seleucus (c.300 B.C.) to the Court of Pataliputra, who admired the vast halls of the wooden palace of the Indian King, with their gilded columns. Stone and brick came into use c.250 B.C., under Asoka, and here Indian architectural history begins. It falls into three main periods: (1) BUDDHIST (B.C. 300 to c.700 A.d.), in which architecture begins to decline in the fifth century; (2) NEO-BRAHMANIC, ruling alone, in harmony with Buddhism in certain regions, from A.D. 700 to 1000, and then dividing the field with the (3) MOHAMMEDAN style, which began with the Afghan invasion in the early eleventh century. Since the English conquest Indian architecture has lost all vitality. There is no unity in India under these periods or styles. Local differences are enormous. The two main geographical divisions are North India, which was the earlier to develop, and South India. At the same time Indian art as a whole has a very characteristic style. It far excels in architecture at least the art of China and Japan, and it governs the art of neighboring regions like Tibet, Cambodia, Burma, and Siam, and islands like Java and Ceylon, which owe their civilization to India.

ARCHITECTURE.

In seeking to explain the origin of Indian architecture, some traces of Greek influence have been found in the north, filtering through the Greek Kingdom of Bactriana, and visible in early monuments of Kabul and Kashmir in the Ghandara monasteries of Jamalgiri and Takht-i-bahi, and in India proper at the Amravati Stupa; but both Egypt, and especially Assyria, exercised far more fundamental influence, through the intermediary of Persia, which was flourishing when Indian art commenced. But whatever suggestions were received, they serve but to bring out the originality of Indian art, which stands at the antipodes of Greece in its exaggeration of forms, its multiplication of details, its love of complicated and confused lines. At the beginning comparative simplicity reigned, and it was not until long after the Christian Era that the richness of design was reached which remained characteristic. This was partly due to the use of brick, instead of stone or marble, in nearly all open-air structures before the tenth century A.D., which diminished the opportunity for elaborate surface ornamentation. The principal classes of monuments are the chaityas, or temples, the viharas, or monasteries, and the stupas, or mound sanctuaries. The temples are at first excavated in the rock; not until the fifth century were any built above ground (except that of Buddha Gaya), to judge from remaining examples.

BUDDHIST PERIOD. Of the earliest monuments, those of the Buddhist period, aside from the memorial columns or lats (e.g. those of Asoka),

the important works were some thirty rock-cut temples and about a thousand monasteries, also cut out of the mountain-side. The temples are large, single, oblong halls, divided into nave and aisles by two rows of heavy columns, approached by a vestibule with an arched façade, richly carved, and having at the apsidal end a colossal statue of Buddha. There is a series of these covering a period of nearly a thousand years. The earliest at Bhaja-are the smallest and simplest. At Karli (second century B.C.) the nave has a stilted tunnel vault, and the heavy columns are octagonal, with bases and capitals surmounted by elephants, making the interior somewhat resemble a dark, tunnel-vaulted French Romanesque church. Even more impressive are the largest cave temples at Ajanta and Ellora (q.v.), where temples and monasteries are multiplied side by side in the face of the rock. The massive piers, the wonderfully varied sculptures, and the frescoes at Ajanta are of special interest. The monasteries are more modest: they are often grouped about these temples, and consist of a large central hall, out of which open the individual cells of the recluses, all cut out of the rock. One of those at Ajanta is 65 feet square, and is supported by twenty pillars. The cells are on two sides, the entrance porch at one end and the sanctuary at the other, the whole being richly carved and painted. The third class, the stupas, or topes, are great brick memorial mounds of circular form. They were at first of domical outline, surmounted by a little chapel or shrine, and surrounded by a marble rail or balustrade entered by four gates. The Bharhut stupa (c.150 B.C.) has been demolished, but that of Sanchi is in splendid preservation. The Amravati stupa is remarkable for its elaborate and beautiful figured sculptures. Finally, the only temple built above ground during the Buddhist period, Buddha Gaya (c.100 B.C.), is in the form of a pyramid with square base, at the corners of which rise four small pyramids. It is 52 meters high, in nine stories, and with three inner superposed sanctuaries. Like all the other early monuments, it is built of brick. Originally it was surrounded by a marble rail like the stupas. The pyramidal form is exceptional in the north at this period, though later it became common in the south. Evidently there is little of constructive value in this period, as Buddha Gaya is the only example of the builders' art, the rest being cut out of the mass or mere mounds.

NEO-BRAHMANIC PERIOD. The next period, the Neo-Brahmanic, almost entirely abandons the impressive rock-cut temples and monasteries, and develops decorative details. Indian art, which has hitherto been confined to the North, spreads not only southward, but far beyond the borders of India, and had previously been carried to China. The principal branch of this art is mistakenly called Jaina by some authorities. Its most interesting examples are perhaps in the Province of Orissa. The southern school asserts its independence. In the North the Brahman temples consist of one or more rectangular halls approached by porches and surmounted by curvilinear pyramids, while the temples of the South

are

immense rectangular inclosures entered through pyramidal doorways of several stories. Even now no true vaults are used in construction, but spaces are covered by false vaults of over

hanging courses, and there are no vast interiors as there were in the earlier rock-cut temples. The central halls of the monasteries become open cloisters with their cells. A curious class of buildings at Ellora shows the transition to this period from the Buddhist, for they are in the open instead of cut in the mountain; but are entirely hewn out of the rock instead of being constructed. The Neo-Brahmanic monuments can be classified under five heads: (1) In the Northeast, Orissa; (2) in Bundelkhand and Rajputana; (3) in Gujarat; (4) in the Central Provinces; (5) in the South.

The style in Orissa, as it flourished for 700 or 800 years, differs from that of the South in having no storied towers or columnar halls or gopurams. The numerous temples at Bhuvaneswar are its highest expression. The tower of the larger temple (c.600 A.D.) is 180 feet high, and near it is the 'Black Pagoda,' whose superb decoration marks a new era. But in general these temples are small. They are built of stone, which has entirely replaced brickwork in this region. Much later (c.1200 A.D.) is the temple of Jagamath at Puri, which shows the absolute decadence of this style.

Quite distinct is the contemporary school of Rajputana, whose ruined city, Khajuraho, with its several miles of ancient buildings, including some forty temples, is unsurpassed in India. The plan of these temples is more elaborate, being made cruciform by the projection of wings and porches, and the elevation being elaborated by the grouping of many subordinate pyramids and spires around the central pyramid. Each temple stands on a stone platform, and ordinarily measures about 40 meters in height and 35 meters in width. Like the preceding, the remarkable temples at Gwalior date from the tenth to the eleventh century. Decorative and figured sculpture now spreads luxuriantly over every inch of surface. The interiors are small and dark, the supports heavy and broken, and the decoration of the pyramidal exterior has become the most effective part of the style. The style of contemporary towers is shown by the rich examples at Chittur. Perhaps the extreme of delicacy of design and minute care in execution appears in the two temples of Mount Abu (eleventh to twelfth century), built entirely of white marble, and each standing on a raised platform. The carved inside surface of a dome in the earlier of these temples (c.1030) is a more astonishing piece of work than the most elaborate English late-Gothic fan-vaulting. The use of false domes is an interesting feature of a whole group of these temples, including those at Nagda recently discovered.

Passing to the centre of India, we find few but important works. The temples of Ellora (q.v.), famous the world over, exemplify the fusion of Buddhism and Brahmanism. There are about thirty excavated in the rock over a distance of two kilometers, during a period of about three centuries (A.D. 500-800); others, again, as mentioned above, are cut in the rock above ground. The earliest and greatest temple is that of Viswakarma, 26 x 13 x 10 meters, divided into three aisles by 38 pillars. The temple of Indra is remarkably rich decoratively, but less so than the Kailasa (see ELLORA), which is largely in the open (eighth century), cut out of a single mass of rock, and one of the most fantastic and

brilliant creations of Indian art. Another group of subterranean temples is on the island of Elephanta (q.v.), dating approximately from the eighth century, and easily visited from Bombay. The absorption of Buddhism by Brahmanism, seen during its earlier stages at Ellora, is almost complete at Elephanta, as shown by the sculptures and ritual. Some of the colossal statues are very impressive.

In the South Buddhism never had a strong hold, and its monuments begin after Jaina and Brahmin supremacy. Here also are, however, some subterranean rock-cut temples, the earliest monuments in the region. There are two groups, at Mahabalipur and at Badami. At the former is a most interesting series of small monolithic temples in the open, similar to the Kailasa at Ellora, and apparently the prototypes of the later pagodas of the South. Both groups are thought to belong to the sixth century A.D., and are among the earliest known Brahmin temples. The finest temple at Badami, though small-as are all these monuments-is beautifully executed in every detail, and unusually symmetrical. The sculpture is very profuse, particularly if we consider their early date; but it is less riotous than in the North. All these buildings are better lighted than the earlier rock-cut temples, which received light only through a big arched opening over the entrance, while here the entire façade is open.

There seems now to be a gap of about four centuries in the art of the South, until we reach the earliest pagodas. Pagoda architecture is characteristic of this region. Its most striking example is at Chidambaram. The plan is a large rectangle about 500 X 400 meters, having a gopuram at each cardinal point. These gopurams are rectangular truncated pyramids in several stories; the largest is about 50 meters high and has seven stories. There is a large sacred pond 100 X 60 meters, and the main temple has a thousand columns and measures 103 × 60 × 13 meters. In contrast with the buildings of the North is not only the enormous scale of such monuments, and their elaborate accessories, but also a radical difference in the proportions. The piers are far more slender and higher, with simpler outlines, and the interior effects are better. Even earlier is the pagoda at Tanjore (eleventh century), with a great gopuram tower in fifteen stories directly over the sanctuary; the mantapam or temple of the sacred bull, an open colonnaded shrine in three aisles, is a beautiful example of delicate lofty proportions and wide interiors. Another group of extremely sacred pagodas inaccessible to Europeans-is at Tripetty; still another at Conjeveram.

But the greatest group in the entire South is at Vijanagara (q.v.), which has remained a deserted city since 1565. Its monuments are comparatively late, dating mostly from the fifteenth and sixteenth centuries, and they belong to the culminating period of art in this region. The great pagoda of Liva and the temple of Vitoba illustrate the grandiose and monumental character of the buildings, although their taste is less pure than that of previous centuries. Still later is the great pagoda at Madura, an immense and imposing composition (seventeenth century). One of the best portions is the present Bazar or 'Puthu Mantapam,' 100 X 30 meters, with a roof supported by an imposing avenue of 128

piers, mostly in the form of realistic monsters and divinities, in a style much used in the South, but never with such richness and life-like detail as here.

In the matter of size and imposing composition nothing equals the great pagoda of Srirangam, one of the most gigantic edifices in the world. In the construction of the great pagodas it was the custom to make any additions by throwing out another concentric quadrangle, with its series of gopuram pyramids, the original sanctuary remaining in the centre; and, peculiarly enough, every time another quadrangle was erected its gopurams were higher than the preceding, so that the central gopurams ended by seeming insignificant. At Srirangam successive rulers had added to the original pagoda until there were seven concentric rectangles, the outer one measuring 880 X 760 meters. Aside from its size, there is little merit in the structure, as it is bare or poor in detail and design. As a whole these Southern pagodas are the most impressive buildings in India.

sense

There is a region in the South, Mysore, which remains an architectural mystery. Hardly touched by explorers, it promises a rich and original harvest, if we can judge from the temples of the deserted cities of Baillur and Hullabid, wonderful and delicate creations, showing_a of proportion and restraint unusual in India. BUDDHIST STYLE IN NEIGHBORING LANDS. Passing now to outlying parts of India and neighboring provinces, we find in the sequestered province of Nepal, between India and Tibet, an archaic style that explains some of the origins of Indian art and illustrates the connection with China. A first type of monument is that of the large circular domical stupas of earth and brick, surrounded not by a balustrade, but a simple plinth, and dedicated to Buddha. These are the carliest (Sambunath, Buddnath). second and far commoner type is that of the pagoda-like temples in brick and wood formed of several stories of superposed roofs, each one in retreat and raised at the corners, in perfect analogy to Chinese monuments (Bhatgaon, Patan). A third type is that of stone temples of quite a different style and of admirable design. Chronologically all these buildings are late-not more than two to five centuries old--but they represent earlier types in a region that remained in a prehistoric undeveloped condition. So the class of pagoda-like temples of brick and stone is of extreme interest. It is the same in Burma, where many monasteries were built of wood or brick, and forms of Babylonian origin are perpetuated.

A

Of even greater architectural interest is Cambodia, whose ruined cities have only recently been discovered, with buildings dating between 950 and 1350. Here brick construction and stonework are very successfully combined. The ancient capital, Angkor, has a superb series of temples, particularly that of Nakhon Wat. Its inclosure measures about one mile each way, and the buildings are well composed. As in Southern India, there is a large pond surrounded by courts, corridors, and temples. Grouped pyramids are used, in stories of decreasing size. Monumental staircases most effectively connect the buildings. The sculpture is exceedingly rich, but is symmetrically arranged, and the lines are not broken up, but compose simply in a manner quite un-Indian.