Among the finds of manuscripts brought to light by the search-parties sent out by the Government Oriental Manuscripts Library are two works ascribed to Dandin, the author of the Kavyadarsa. This last work has a verse illustrating a particular kind of composition. The verse which has to be of a recondite character takes for its illustration the city Kanchi and its rulers the Pallavas. This reference alone would lead one to suspect that Dandin had something to do with Kanchi. These manuscripts newly brought to light relate to the subject-matter of the prose-work Dasakumara Charita generally ascribed to Dandin. The poetical work seems to be called Avanti-Sundari-katha-sara, and of the original prose version a few fragments alone are yet available, but the substance of the story is put in poetic form and contains an introductory chapter which gives some information regarding Dandin himself and his ancestry. The matter of peculiar importance to our subject at present is that Dandin calls himself the great-grandson of Bharavi, the author of Kiratarjuniya, and Dandin seems to refer himself to the reign of Rajasimha or Narasimha II among the great Pallavas. This seems supported by the fact recently brought to notice by Rao Bahadur B. Narasimhachariar that a Ganga king by name Durvinita lays claim to having written a commentary on the fifteenth canto of the Kiratarjuniya of Bharavi. In this account Bharavi is also brought into contemporaneity with the Chalukya Vishnuvardhana, an ancestor of Jayasimha I, who became famous afterwards as the founder of the Chalukya dynasty. This would make Bharavi a contemporary with either Mahendra Pallava himself or his son Narasimha I. In either case Bharavi's Kiratarjuniya may account for the great popularity that this particular incident, in the epic tradition of the manifestations of Siva, attained in this part of the country. Apart from its being one of the most oft-quoted instances of Siva's beneficence, the cutting out of this particular episode on the face of the big rock in Mahabalipuram which remained somewhat inexplicable till now finds a satisfactory explanation. Though we have another instance of a sculptural illustration of this in distant Behar in Chandi Mau, still it was matter which could not readily be explained why the Tevaram hymners should have pitched upon this particular incident among a large variety, and the sculptors of Mahabalipura should have chosen this for an illustration. If Bharavi and Dandin flourished in Kanchi, Kanchi must have been a very important centre of Sanskrit learning at the time.