fate of Pajajaran, are several ungainly images and impressions of the feet of Poorwakali, the spouse of one of that realm’s petrified kings, who mourned him with such copious tears that she softened the very rock she stood upon, according to one legend; and, according to another legend, of the feet of a certain Raja Mantri who tarried so long in contemplation of the inscribed stone already mentioned, pondering over the meaning of its strange characters, that he sank gradually into the hard ground. There are more impressions of more feet and a coarsely carved _linga_, Siva’s fecundating attribute, transformed by Muhammadan piety into the miracle working staff of a Moslim santon. Hardly greater interest is awakened by the primitive statues Kota Batu derives its appellation from, “city of stones”, which form a sort of _Ruhmes Allee_, lining the path from the main road to the bath-house, with many of the same pattern scattered to right and left. All of them are petrified worthies of Pajajaran, which their own mothers would not recognise, though the natives know each of them by praenomen, nomen, cognomen and title. King Moonding Wangi, _i.e._ the nice-smelling buffalo, looking perhaps a trifle more human than the rest. Of a similar nature are the _archadomas_, a collection of about eight hundred blocks of stone on the estate Pondok Gedeh, which need a vivid imagination in the beholder to pass for the figures of men and animals. A good specimen of the Pajajaran type of sculpture, if it deserves that name, is the lachrymose Poorwakali already referred to as standing, petrified herself, at a little distance from the Batu Tulis where she solaces her widowhood by keeping company with Kidangpenanjong, forgetting her royal husband, after her paroxysm of grief, in a plebeian flirtation. Such is woman!