At the temple built on the top of a conical hill at Bherâghât, overlooking the river, is a statue of a bull carrying Siva, the god of destruction, and his wife Pârvatî seated behind him; they have both snakes in their hands, and Siva has a large one round his loins as a waistband. There are several demons in human shape lying prostrate under the belly of the bull, and the whole are well cut out of one large slab of hard basalt from a dyke in the marble rock beneath. They call the whole group 'Gaurî Sankar', and I found in the fair, exposed for sale, a brass model of a similar one from Jeypore (Jaipur), but not so well shaped and proportioned. On noticing this we were told that 'such difference was to be expected, since the brass must have been made by man, whereas the "Gaurî Sankar" of the temple above was a real Pâkhân, or a conversion of living beings into stone by the gods;[14] they were therefore the exact resemblance of living beings, while the others could only be rude imitations'. 'Gaurî', or the Fair, is the name of Pârvatî, or Dêvî, when she appears with her husband Siva. On such occasions she is always fair and beautiful. Sankar is another name of Siva, or Mahâdêo, or Rudra. On looking into the temple at the statue, a lady expressed her surprise at the entireness as well as the excellence of the figures, while all round had been so much mutilated by the Muhammadans. 'They are quite a different thing from the others', said a respectable old landholder; 'they are a conversion of real flesh and blood into stone, and no human hands can either imitate or hurt them.' She smiled incredulously, while he looked very grave, and appealed to the whole crowd of spectators assembled, who all testified to the truth of what he had said; and added that 'at no distant day the figures would be all restored to life again, the deities would all come back without doubt and reanimate their old bodies again'.