Let me mention another example of Wilsen’s inaccuracy, the _thirtieth_ sculpture we see on the back-wall of the _second_ gallery, and so much the more, because it might have been easily photographed. More than one expert did so, among others, in 1901 (in my presence) the known _Padang_ and _Atyèh_ photographer C. Nieuwenhuis. Comparing this photo with Wilsen’s drawing we shall perceive that the two inner-pilasters of the small temple have been wrongly drawn, and that the outer-pilasters, behind the standing women, have been _forgotten_; that the _prabha_ (glory) _behind_ the saint’s head, we see sitting _inside_ this small temple, impossibly goes upward before the upper-threshold of the entrance; and that the young lions and the throne’s carpet have been disfigured as well as the garlands and prayer-bells, both in form and placing. This also refers to the visitor’s parasol, and to the flower-offering we see near him. The second parrot, just above the right bodhi-tree, and one flower-piece to the right under this tree, have been wholly left out. This visitor’s hand _flatly_ folded for a _sĕmbah_ (salaam) has not been folded _flatly_, because the finger-tips only touch each other, so that the _sĕmbah_ itself is to be recognised no more. The right foot of this man the drawer also forgot[61]. It is not difficult to show such mistakes in other drawings of Wilsen’s; and I therefore suppose them not to be relied upon for the explanation of further particulars. There where Wilsen copied monks (_bhiksyus_) he nearly always raised them to _Buddhas_ by decorating their clean-shaven heads with the hair-crown, the _tiara_ or _usynîsya!_ as if he, who didn’t even know the text the sculptor had followed, knew far better than the latter! And don’t we know how he, just like Ovid in his _Metamorphoses_, changed women into men or otherwise? I further point to the above mentioned sculpture because of the worship of the _bodhi-tree_ characterised by parasols and _tyĕmaras_ (fly-flaps), rosettes and prayer-bells. Such fig-trees are still cultivated and honoured by all the _Ceylon_ (and elsewhere) pagodae even at this day, and in consequence of this worship by buddhistic ancestors the Sundas and Javanese always respect _kiaras_ and _wĕringins_ (_banyan-trees_) and other akin _Ficaceae_. Such trees as we always see on the _alun-aluns_, the front-places of _kratons_ and _dalĕms_ of princes and native chiefs originally meant, I think, a recognition to _Buddha_’s fig-tree. The preacher and his doctrine are forgotten here in Java, but one of the forms of this worship still exists. I mention the _eighteenth_ and the _twenty-second_ sculpture (eastern staircase, _fifth_ corner, 2 and _sixth_ corner, 1) because of the winged shell, the _syankha_, provided with _payongs_ and _tyĕmaras_ as a sign of dignity.