19. xlviii. Maghā-deviya Jākata. Makhā-deva Jākata.[115] 20. xlviii. Bhisa-haraniya Jākata. ?[114] 21. xviii. Vitura-panakaya Jākata.[116] Vidhūra Jākata. 22. xxviii. {Janako Rāja Jākata. Janaka Jākata. {Sivala Devi Jākata. There are numerous other scenes without titles, and not yet identified in the Jātaka Book, but which are almost certainly illustrative of Jātaka Stories; and several scenes with titles illustrative of passages in the Nidāna Kathā of the Jātaka Book. So, for instance, Pl. xvi. fig. 1 is the worship in heaven of the Buddha’s Head-dress, whose reception into heaven is described below, p. 86; and the heavenly mansion, the Palace of Glory, is inscribed _Vejayanto Pāsādo_, the origin of which name is explained below, p. 287. Plate xxviii. has a scene entitled ‘_Bhagavato Okkanti_’ (The Descent of the Blessed One),[117] in illustration of Māyā Devi’s Dream (below, pp. 62, 63); and Plate lvii. is a representation of the Presentation of the Jetavana Monastery (below, pp. 130-133). The identifications of Nos. 12 and 13 in the above list are very doubtful. Besides the above, Mr. Fergusson, in his ‘Tree and Serpent Worship,’ has identified bas-reliefs on the Sanchi Tope in illustration of the Sama and Asadisa Jātakas (Pl. xxxvi p. 181) and of the Vessantara Jātaka (Pl. xxiv. p. 125); and there are other Jātaka scenes on the Sanchi Tope not yet identified. Mr. Simpson also has been kind enough to show me drawings of bas-reliefs he discovered in Afghanistān, two of which I have been able to identify as illustrations of the Sumedha Jātaka (below, p. 11-13), and another as illustrative of the scene described below on pp. 125, 126. THE NIDĀNAKATHĀ OR THE THREE EPOCHS.