When, according to my schematism offered to the Dutch Government by the board of directors of the “_Oudheidkundige Vereeniging_”, the upper series were dug up (1890) and the _lower-part_ of the ruin’s outer wall had been uncovered, we found there heavy frames and bands, and underneath a series of 160 images much better hewn than the demi-relievoes, and for the greater part well preserved under their firm covering. Some years ago we had not the slightest idea of their existence. I proposed the Dutch Government to have them photographed so that they now have come within the range of the study of archaeologists[20]. It therefore appears that the first outer-terrace must have been twice heightened at its original foot, that is, before the last planned imageries had been entirely finished at its foot or hardly sketched. And this must have been done by the Buddhists themselves to assure, perhaps, firmer foundations to the whole building[21]. But let us now return to the outer-terrace we mounted. In former times it must have been surrounded by a heavy breast-work which now has disappeared altogether. In the centre of each side this parapet was replaced by the upper step of a staircase on two sides closed in by means of heavy banisters. The banisters of such stairs ended into _nâga_ heads with turned elephant’s trunks and gave entrance to the lower heightening. Out of all still existing stairs, and upon those we now find ourselves there are other ones leading over all the higher terraces to the large middle-dagob we can still reach along this path without being obliged to walk all round these galleries, and without passing the imageries standing there. On our first way we therefore only walk about part of the outer-terrace, along the north- and half east-side, and it is on _this_ side that we shall mount the stair which will bring us to the very first gallery (also walled in on its outside) on the second terrace. And we shall find there the starting-point of _four_ different series of alto-relievoes of which some prepare each other in regular succession. Yet, these imageries, more or less reviving the heavy outer-wall _above_ the outer terrace, and consequently standing comparatively high above the _lower series_ we uncovered in 1890 (now covered again) don’t tell us any story or legend, but allude to symbolical ornaments only. Notwithstanding, they can’t be said to be without sense, though we may not readily understand them.