To the left we see a deity (a Bodhisattva, perhaps) in a temple crowned by _eleven trisyulas_. To the right such another deity (or greatness?) on a lower seat. Between these two stands a tree the branches of which don’t bear leaves or fruit, but swords and daggers. And beneath there we see a cauldron full of boiling contents hanging over a flaming fire. Next to this we see three (armed) men guarding three fettered prisoners who are likely to ask for mercy to the second, less great deity. It seems however, that one of the keepers is waiting for further instructions of the deity we see in the small temple. The eleven _trisyulas_ make us think of Shiva again, perhaps as Kâla, the god of death, the all destroying _time_. Leemans thought this representation should be connected with a particular event or, should refer, in a general sense, to hellish punishments. The last mentioned explanation seemed acceptable to me, but then when taken in a pure symbolical sense. The king of _Siam_ simply called this a representation of hell. “Buddha _sees_ hell.” We may leave the walled terraces after having seen two other sculptures we find on the back-wall of the fourth and highest gallery which has no more than 20 angles and hewn wall-panels. First of all I’ll mention the _fifty-seventh_ sculpture (3 after the _northern_ staircase). There we see a Buddha throning in a temple upon which we see, to the right, a flaming _tyakra_ and, to the left, a _crescent of the moon_ floating in the air on lotus-cushions. And last of all I’ll point to the _seventieth_ sculpture (_fifth_ corner 2), showing us a similar representation, but where the _tyakra_ has been replaced by the _disc of the sun_.[66] One can’t possibly wish a more eloquent witness of the harmony of the _tyakra_ and _disc of the sun_, and of the connection there is between these celestial bodies and the _Buddha_, between _Buddha_ and _Vishnu_ or, in other words, between the _Buddha-_ and _sun-worship_. For completeness’ sake I further mention that on the back-wall of this gallery are to be found many sculptures upon which more than _five_ till _seventeen_ Buddhas have been hewn in different postures (mudrâs). In my opinion the king of _Siam_ rightly observed that here can’t be meant any _Dhyâni_-Buddha. Foucher gave us another reasonable explanation of these sculptures by connecting them with _Syrâvastî_’s _great wonder_ when the _Buddha_ covered all the heaven with the reflexions of his own body. For the sake of brevity I therefore refer to that which has been mentioned hereabout in my “_Oudheidkundige Aanteekeningen_” IV, p. 42 and 44. It only remains for me now to speak a few words about the relievoes major van Erp recognised to be _jâtaka_-representations guided as he was by the text of the great work of Mr. Cowell’s and contributors.