16. Rudrâyana communicates to his son Syikhanḍin his resolution to become a monk, and so to abdicate the throne in his son’s behalf. 17. At _Râyagriha_ the _Buddha_ consecrated Rudrâyana a _bhiksyu_, and on his first way as a mendicant friar he declines Bimbisâra’s rich offerings. 18. To the right we see how merchants from _Rudrâyana_’s country inform him Syikhanḍin’s bad behaviour. And to the left how the son is informed by his wicked ministers about his father’s return, and we then also see how he therefore forms a plan to have his father murdered. In the back-ground we see Syikhanḍin’s mother in her own palace. 19. Even this relievo is divided in two. To the right Syikhanḍin learns that his father has been killed, perhaps by the man with the long sword. And to the left he seeks comfort from his mother who frees him from the heavy burden of parricide by letting him know that Rudrâyana wasn’t really his father. 20. But the equally unpardonable murder of a _bhiksyu_, a saint, weighs heavily on the king. In order to free him from so great a debt they now pretend there are no saints. Deceivers are those who mean to be _arahats_. To the left we see two cats, each of them in a _stûpa_ of her own. They have been taught to answer to the names of the two first converts convinced by Mahâkâtyâyana, and to the right we see the queen-mother with her son who agrees with such sofisms. 21. To the right king Syikhanḍin in a sedan-chair. He tells his retinue to throw sand at the monk Mahâkâtyâyana. To the left the monk himself, released as he now is from the heap of sand, predicts _Roruka_’s downfall to the two good ministers Hiru and Bhiru. 22. From his palace the king is watching the rain of jewels which precedes the wicked storm of sand[58]. People jostle each other on catching up the treasures. In the foreground we see the two good ministers loading a boat with the mentioned riches. 23. Fate in fulfilment. _Roruka_ and almost all its inhabitants are buried under the sand. We see Mahâkâtyâyana on his home-journey in the village of _Khara_. Through the air the tutelary goddess of the destructed town followed him to that place, and the monk leaves her his begging cup over which a _stûpa_ will be built. 24. In the next stage, called _Lambaka_, the inhabitants offer the royalty to the monk’s disciple, Syâmaka, because of the wonder they saw, that is, that the shadow of the tree under which he took his seat, behaved to himself but didn’t follow the course of the sun. 25. In the third stage, named _Vokkâna_, the monk gives his mendicity to a woman, who in former life, had been his mother. Reason for the building of a new _stûpa_.