The following sculpture (189 W L., after the _second_ angle) tells us how Mâra tries to conquer him by the charmingness of his daughters, the _apsarasas_ (the rosy morning-mists) (Kern). But though one of these nymphs adopts the shape of Yashódarâ, Râhula-_mata_ (the mother of Râhula, Siddhârta’s son), he henceforth lives a life of _love_ highly beneficial to all beings. Teaching and honoured he goes to _Banaras_ (_Bénarès_) such as the last sculptures on the north side will show us. On the _one hundred and seventeenth_ (233 W. L., _eighth_ angle, 1) he proclaims truth to the five disciples found back, and now for ever his faithful followers and first apostles[41]. The three last sculptures of the whole series which bring us back again to our starting-point near the eastern staircase, speak of Buddha’s greatness, but don’t refer to his journey to the native-town and to the reclaiming of father and son, of his wife and step-mother, the first buddhistic nuns. The last sculpture but one (237 W. L., 2 after the _ninth_ and _last_ angle) speaks of his death, for the washing of his corpse hewn there, may only apply to his _death_, though the sitting posture of the dead one may seem in flat defiance of this.[42] But this posture on the lotus-throne, with his two hands in his lap, is the posture of meditation or perfect rest suiting the _nirvâna_ which is also the posture of the fourth _Dhyâni-buddha_, Amitâbha, hewn on the four lower-walls and dominating there the West, opposite to the setting sun speaking in a symbolical sense of the finished task of life. Behind the dead one we see stand two _monks_ pouring their vases to purify the corpse before the cremation will make an end to his material existence. On the last sculpture (239 W. L., 3 after the _last_ angle) the Buddha thrones in the very same posture, as the glorification of death, as the immortal _Talhâgata_ who, in spite of his material death, continues to live in his holy doctrine, and who can never die as such. That the study of Foucher’s work could also assist me in finding the sense of some other not comprehended sculptures may appear from the 5^th panel after the 7^th angle past the eastern staircase, which shows us the killing of Siddhârta’s elephant by his angry nephew Dervadatta. VIII.