It does not provide an authorized version for the edification of the faithful, but it presents for the use of the learned all translations of Indian works belonging to a particular class which possess a certain age and authority. The same characteristic marks the much richer collection of Mahâyâna Sûtras, which contains the works most esteemed by Chinese Buddhists. It is divided into seven classes: 1. [Chinese: ] Pan-jo (Po-jo) or Prajnâpâramitâ[712]. 2. [Chinese: ] Pao-chi or Ratnakûṭa. 3. [Chinese: ] Ta-chi or Mahâsannipâta. 4. [Chinese: ] Hua-yen or Avatamsaka. 5. [Chinese: ] Nieh-pan or Parinirvâṇa. 6. [Chinese: ] Sûtras in more than one translation but not falling into any of the above five classes. 7. [Chinese: ] Other sûtras existing in only one translation. Each of the first five classes probably represents a collection of sûtras analogous to a Nikâya and in one sense a single work but translated into Chinese several times, both in a complete form and in extracts. Thus the first class opens with the majestic Mahâprajnâpâramitâ in 600 fasciculi and equivalent to 200,000 stanzas in Sanskrit. This is followed by several translations of shorter versions including two of the little sûtras called the Heart of the Prajnâpâramitâ, which fills only one leaf. There are also six translations of the celebrated work known as the Diamond-cutter[713], which is the ninth sûtra in the Mahâprajnâpâramitâ and all the works classed under the heading Pan-jo seem to be alternative versions of parts of this great Corpus. The second and third classes are collections of sûtras which no longer exist as collections in Sanskrit, though the Sanskrit text of some individual sûtras is extant. That called Pao-chi or Ratnakûṭa opens with a collection of forty-nine sûtras which includes the longer version of the Sukhâvatîvyûha. This collection is reckoned as one work, but the other items in the same class are all or nearly all of them duplicate translations of separate sûtras contained in it. This is probably true of the third class also. At least seven of the works included in it are duplicate translations of the first, which is called Mahâsannipâta, and the sûtras called Candragarbha, Kshitig., Sumerug., and Akâśag., appear to be merely sections, not separate compositions, although this is not clear from the remarks of Nanjio and Wassiljew.