"“Creighton drew the sketches of a few Hindu sculptures which were evidently used in the Chhoto Sona Masjid at Gaud. These are the image of Sivani, the consort of Siva, Varahaavatara or Vishnu in the form of a Boar, Brahmani, consort of Brahma. In the British Museum there are a few images of Hindu and Buddhist character, such as the Brahmani, sketched by Creighton, and the seated Buddha figure. The Muslim builders out of sheer expediency felt no scruple to use these fragments in their mosques by concealing the carved sides into the wall and utilizing the flat reverse side of these black basalts for arabesque design in shallow carvings. Piecemeal utilization of Hindu sculptures were also to be seen in the earlier monuments, such as, the Mosque and Tomb of Zafar Khan at Tribeni, the Mosque at Chhoto Pandua, the Adina Masjid at Hazrat Pandua, etc. ... Cunningham found in the pulpit of the Adina Masjid ‘a line of Hindu sculpture of very fine bold execution.’ Innumerable Hindu lintels, pillars, door-jambs, bases, capitals, friezes, fragments of stone carvings, dadoes, etc., have been utilized in such a makeshift style as to render ‘improvisation’ well-nigh impossible. In many cases as observed in the Quwwat al-Islam at Delhi and the Arhai-din-ka-Jhopra Mosque at Ajmer, pillars were inverted, joining the base with capitals, suiting neither pattern nor size. Still there is no denying the fact that Hindu materials were utilized, yet it would be far-fetched to say that existing Hindu temples were dismantled and converted by improvisation into mosques as observed in the early phase of Muslim architecture in Indo-Pak sub-continent. The ritual needs and structural properties of the Hindus and the Muslims are so diametrically opposite as to deter any compromise and, therefore, the early Muslim conquerors of Bengal said their prayer in mosques built out of the fragments of Hindu materials in the same way as their predecessors did at Delhi, Ajmer, Patan, Janupur, Dhar and Mandu, and elsewhere. In the event [absence?] of any complete picture of pre-Muslim Hindu art as practised in Gaud and Hazrat Pandua, it is an exaggeration to hold the view after Saraswati that ‘indeed, every structure of this royal city (Hazrat Pandua) discloses Hindu materials in its composition, thus, disclosing that no earlier monument was spared.”"