The Dimbulagala range is said to house a number of caves cut into the rock with Brahmi inscriptions over their drip ledges as proving their antiquity. This forest hermitage of medieval times and holy abode since time immemorial, home to some of the most valued fragments of early frescoes was called the Gunners Quoin by the British for some reason. Can you tell us where the Pulligoda Galge is? We kept asking bystanders on reaching Dimbulagala 16 kilometres south east of Polonnaruwa. Nobody seemed to have heard of it before and that’s how we met Lionel Mendis a retired employee of the Archaeological Department, whose humble home was in the village near the Pulligoda Galge itself and whom we coaxed into accompanying us on our search. He directed us passing the Dimbulagala temple, the only landmark being a water tank at which point you turn to the left and continue on an unsealed road which takes you passing the delightful Hitcha Pitcha Wewa, all the while travelling round the changing range-scape of Dimbulagala, and then another turn off which brings you almost to the foot of a rocky outcrop. The short climb up and through jungle and rock boulders, guided more by instinct, we reached this forgotten fresco considered to be an important milestone in the history of artistic heritage. The frescoes at Pulligoda were reported by Bell in 1897, a series of fragmentary remains of old paintings in a shallow cave shrine. Today we see a fragment of what once may have been a larger scene of devotees in the attitude of veneration, consisting of five male figures seated on lotus cushions placed on a broad seat. The dating of these frescoes are subject to debate. Coomaraswamy and Vincent Smith dated the paintings to the 8th century AD. Paranavithana ascribed them to a period earlier than the 12th century but with a likelihood of being contemporary with the Polonnaruwa paintings (12th century). Raja de Silva referring to the material technology of Pulligoda being common to paintings of the earlier Anuradhapura period dates them to as early as the 4th century AD. (Older than Sigiriya) Dr. Raja de Silva, former Archaeological Commissioner in a study of early period paintings from 247 BC to 800 AD defines several of the characteristics and elements of the Pulligoda Galge frescoes. He describes that the male figures depicted here have reached a stage of attainment (Sovan, Sakrudagami, Anagami or Arhant) as signified by the oval aura shaded red behind each head. The saintly figures are all seated with their legs crossed. The soles are painted red with cosmetics, like the palms. The lower garments are pantaloons of plain red or stripes reaching down to the ankle. Their headdresses vary distinguishing two figures as Brahmins. Another wears a white band of sacred thread across the bare upper body marking a sage. Ear rings, necklaces armlets, bracelets are also worn. One figure is green in complexion. The asana on which the lotus cushions are placed is