It turns out that the disruptions to the dig arose from an attempt by a group of Brahmins to conceal evidence of a terrible massacre committed by the Aryan invaders, who had built a monument to their victory and had thrown to their deaths thousands of Dravidian workers who had created it. The monument, dedicated to Indra, is eventually uncovered, containing a large wall-carving depicting the Aryans crushing their enemies, and emphasising the racial differences between the two groups. The defeated masses were small and squat, their faces somewhat exaggeratedly simian, sometimes beautiful, but always different, with their broad cheekbones and square shapes, from the tall, straight-nosed, lank-haired heroes who destroyed them and their works. However, further investigation reveals that a later chamber was added in which the merging of the two peoples was celebrated. Again, in tandem with ideas of the time, Aryan culture is presented as authoritarian, while Dravidian culture is portrayed as sensuous. The dancing-girl is revealed to be a modern incarnation of the spirit of Dravidianism, whose marriage to the Indo-Aryan hero represents the reinvigoration of distinctive Indian identity.