His name is unknown, though native fancy, descrying his likeness in the profile of the Minoreh mountains, a fine conceit worthy of his genius, has baptised him Kiahi Guna Darma. Another tradition calls him Kiahi Oondagi and makes him chisel the statue which, up to the time of the late King of Siam’s visit in 1896, stood near the _pasangrahan_, facing a damaged Amitabha and seemingly heartening the diminishing ranks of the lions mounting guard. It had been brought thither from a place known as Topog, about a mile distant, and was certainly a portrait-statue, beautifully cut and with its extraordinarily clever features a rare work of art. The story goes that, like Busketus, the architect (with Rainaldus) of the Duomo at Pisa, his dearest wish was to have his remains carried to rest under the stones of the edifice he had raised to the honour of the unseen; that, baffled in his hopes and reincarnated after his death because of some venial offence which made him fail in attaining the Nirvana too, he fashioned this effigy to be set up at the entrance of his _magnum opus_, anticipating an idea of the equally nameless artist who put the Byzantine stamp on San Marco in Venice. It is an additional proof of the late King Chulalongkorn’s discrimination in favour of the very best that, making the permitted choice, his Majesty included Kiahi Oondagi, but O! the official cringing and the little piety shown to the memory of the illustrious labourer who wrought this wonderful monument. [Illustration: XXXVI. ASCENDING THE BORO BUDOOR (Cephas Sr.)]