When, for more than thirty years ago, I began to study the majestic ruin, I thought (like I afterwards wrote[43] in my first essay about the Båråbudur) many other imageries, at least those of the undermost series of the back wall, and those of the uppermost row on the front wall of this first gallery, to be the representations of Buddha’s former lives, of the jâtakas of the man honoured by all the Buddhists of the northern and the southern church as the Redeemer of this world, the Dhyâni-Buddha of the Mahâyânists, for the last time reincarnated for about 25 centuries ago, and who enjoyed the rest of the nirvâna after having finished his heavenly task, but in order to reveal himself once more to a future world, that is, as the Redeemer of not yet existing beings. When in July 1896 I attended the king of _Siam for three days on his journey to the ruins_, this royal Buddhist expressed the same supposition, especially with regard to the lower series on the back wall of this first gallery. But I could not possibly study these _jâtakas_ as long as I didn’t know any translation of the original _sanscrit-_ or _pâli_ text[44] in one of the languages known to me. In 1893 professor J. S. Speyer published in the “_Bydragen van ’t Koninklijk Instituut_” an English translation of 34 of these legends derived from a sanscrit manuscript, the so-called Jâtakamâla or the _wreath of birth stories_[45]. And in the same “_Bijdragen_”, but in those of 1897, professor Kern gave a translation of an essay which had appeared from the hand of the Russian Orientalist Sergius E. Oldenburg—as far as it concerned the Båråbudur—who discussed the representations of a few _jâtakas_ on different monuments whereas Dr. _Kern_ had been so kind as to inform me of them by letter. It therefore became possible for me to recognise in the two mentioned series some of the legends treated in Speyer’s _Jâtakamâlâ_, and moreover, show some other ones elsewhere. And five years ago Speyer gave at length a full account of the _Maitrakanyaka_ legend superficially treated by Oldenburg, and hewn on six sculptures of the _lower_ series on the back wall. Oldenburg however, had only mentioned five of them. In November 1899 I visited the Båråbudur in order to examine all these sculptures one by one, that is, in as much as they still existed and had not been lost or damaged, or no more to be recognized since the engravings studied by Oldenburg had been drawn in Leemans’ work. It is a pity that these drawings are not exactly true ones, and not to be relied upon, but we shall afterwards speak about them.