And moreover, granting the one little sculpture to represent the older penitent with the flaming nimble on his head, it surely should have preceded Maitrakanyaka’s sculpture, and by no means come after this whilst M. first arrives in the town of darkness, and afterwards finds there the martyr from whom he takes possession of the nimble. And last of all, the separating trees should not have had any sense at all if they should not refer to two following events relating to the very same person. I think it my duty to point to the following sculptures of the upper series of the front-wall which represent no jâtakas but refer to the _Buddha_ of after life. After the _eastern_ staircase and the _second_ corner, 15 (W. L., 28). Buddha in a _preaching_ posture forming the _tyakra_ with the thumb and index of his right arm such as all Buddhas do, we see hewn in the niches of the highest, fifth, wall[57]. Lotus-throne and _prabha_, style of hair-dress and costume have been hewn in the same manner as those of the Buddhas of all niches. All round about him we see auditors rendering homage to him. _Western_ staircase, _fifth_ corner, 2 (W. L., 235) shows a similar sculpture, but above the Buddha two angels are floating in the air, and near him we see stand burning incense-offerings. After the _seventh_ corner, 4 and 8 (W. L., 252 and 256) we see similar representations, with this difference however, that on the last sculpture the Lord has been hewn in the posture of the fifth _Dhyâni-Buddha_ (like all Buddhas on the 4 lower walls on the north side), and that his curls of hair have not been finished. Still other relievoes of this very same lower series have been explained by Mr. Foucher. At the _south-west_ corner, west of the southern staircase, has been hewn king Mândhâtar’s life, but not any sculpture before the eighth can be expounded from the _Divyâvadâna_ text. The seven preceding sculptures are likely to refer to the same history the sculptor brought to light something more than the text’s writer did, who starts from the hero’s birth, and describes his acts of government after having given a short account of his youth. Foucher’s meaning was quite unexpectedly confirmed by another writing, the so-called _Bodhisattvavadânakalpalata_ which runs as follows: “One day (king) Uposyada went on horseback in order to visit a hermit’s colony which had asked for his assistance to be defended from demons. There were princely risyis who kept a stone bottle ready. This was meant for a sacrifice which was to have the power to procreate children. The king, tired as he was of the long ride, and before he could be prevented from doing so, empties the bottle. Returned at home he discovers an unpainful swelling on his head, and when the tumour had ripened at length out came a boy whose education was disputed by the 60.000 women of the _harem_.”