The Gupta Age (400 CE-600 CE) witnessed new experimentations in the construction of structural temples by means of dressed stones in dry stone masonry, i.e., without the use of mortar. In this technique, blocks of stone were joined together by tenon-and-groove method, i.e., the tenon of one block of stone is inserted in hole created in the other. Some of the famous Gupta structural temples in stone are Temple number 17 (Buddhist) at Sanchi (Pl. 24, Fig. 24), the Kankali Devi at Tigawa (Fig. 25), the temples of Vishnu and Varaha at Eran (Figs. 26 & 27) and the Parvati temple at Nachna-Kuthara (Pl. 26, Fig 28), all in Madhya Pradesh. The Dasavatara temple at Deogarh in Distt. Jhansi, Uttar Pradesh (Pl. 27, Fig. 29) , the Siva temple at Bhumara in Madhya Pradesh (Pl. 28, Fig. 30) and the brick temples at Bhitargaon (Pl. 29, Fig. 31) and Bhitari (U.P.) and the Vishnu Temple at Sirpur in Chhatisgarh (Pl. 30, Fig. 32) are some of the evolved Gupta temples. The basic plan of the structural temple, which became the standard for the temples in India for all time to come also emerged during this period. As a result, a simple square cella with flat roof fronted by a low-pillared porch or mandapa (for example, Sanchi Temple 17), represented the beginning of new structural temple architecture in India. This two-unit plan, it may be noted, was the product of the two basic needs of the devotee, the bhakta of all India-born religions-the cella exclusively for the deity, and a porch for the devotees. Further, and this is equally important, both the units-the former called 'garbha-griha' and the latter 'mandapa' have necessarily to be located in one and same axis since the devotee should have the darsana or visibility of his god standing right in his front. The sanctum had no ventilation other than a door in the front wall. Later, a covered pradakshinapatha was added to the garbha-griha for the devotees to go round it. As time passed, the sikhara was raised over the roof. It was a great innovation that added imposing verticality to the otherwise modest house-like structure. Many decorative motifs like goblins, couples, flying angels, door-keepers, nymphs (apsaras), etc., appeared on the walls, pillars, door-jambs, lintels and ceiling of the sikhara as well as the mandapa. In other words, attention was now also paid to the embellishment of the structure to create the right type of ambience, religious and spiritual, for the devotees. It also helped in the growth of the number of the devotees visiting the temples. The needs also became important for the architects. They therefore, decided to add a vestibule or antarala between the garbha-griha and the mandapa. Later, this mandapa became quite large to accommodate more people. It was then called mahamandapa. But to enter it directly from the outside was not considered right thing to do. So first added a small mandapa and called it ardha-mandapa. Later, a small