An outline of the footprints as engraved on one of the Japanese pedestals[3] should have some interest even for persons familiar with Indian sculptures of the S’rîpâda. The double-page drawing, accompanying this paper, and showing both footprints, has been made after the tracing at Dentsu-In, where the footprints have the full legendary dimension, It will be observed that there are only seven emblems: these are called in Japan the _Shichi-Sō_, or “Seven Appearances.” I got some information about them from the _Shō-Ekō-Hō-Kwan_,—a book used by the Jodo sect. This book also contains rough woodcuts of the footprints; and one of them I reproduce here for the purpose of calling attention to the curious form of the emblems upon the toes. They are said to be modifications of the _manji_, or svastikâ, but I doubt it. In the _Butsu-soku-séki_-tracings, the corresponding figures suggest the “flower-like design” mentioned in the tradition of the Maghada stone; while the symbols in the book-print suggest fire. Indeed their outline so much resembles the conventional flamelet-design of Buddhist decoration, that I cannot help thinking them originally intended to indicate the traditional luminosity of the footprints. Moreover, there is a text in the book called _Hō-Kai-Shidai_ that lends support to this supposition:—“The sole of the foot of the Buddha is flat,—like the base of a toilet-stand…. Upon it are lines forming the appearance of a wheel of a thousand spokes…. The toes are slender, round, long, straight, graceful, _and somewhat luminous_.” [3] A monument at Nara exhibits the _S’rîpâda_ in a form differing considerably from the design upon the Tōkyō pedestals. [Illustration: Left: S’rîpâda showing the svastikâ (From the Bukkyō-Hyakkwa-Zensho) Right: (From the Shō-Ekō-Hō-Kwan)] The explanation of the Seven Appearances which is given by the _Shō-Ekō-Hō-Kwan_ cannot be called satisfactory; but it is not without interest in relation to Japanese popular Buddhism. The emblems are considered in the following order:— I.—_The Svastikâ_. The figure upon each toe is said to be a modification of the _manji_;[4] and although I doubt whether this is always the case, I have observed that on some of the large kakémono representing the footprints, the emblem really _is_ the svastikâ,—not a flamelet nor a flower-shape.[5] The Japanese commentator explains the svastikâ as a symbol of “everlasting bliss.” [4] Lit.: “The thousand-character” sign. [5] On some monuments and drawings there is a sort of disk made by a single line in spiral, on each toe,—together with the image of a small wheel. II.—_The Fish_ (_Gyo_). The fish signifies freedom from all restraints. As in the water a fish moves easily in any direction, so in the Buddha-state the fully-emancipated knows no restraints or obstructions. III.—_The Diamond-Mace_ (Jap. _Kongō-sho;_—Sansc. “Vadjra”). Explained as signifying the divine force that “strikes and breaks all the lusts (_bonnō_) of the world.”