Among the sculptures placed opposite the _five_ zones of heaven, the East, South, West and North and the Zenith, there is to be seen a _slight_ difference in the posture of the right hands, and something more difference in the posture of the _two_ hands with regard to those sculptures we see on the round terraces. _All_ the sculptures on the _five_ encircling walls have been hewn with their left hands in their laps, that is, with the palm on the right foot. Those on the _four lower walls_ have (on the east side) their right hands with their backs, on the _south_ side these very same hands with the palms upwards on the right knees; those of the _west_ (opposite to the setting sun) hold both their hands in their laps, and those of the _north_ rise their right hands a little above the right thigh, palm forward, and the _five_ fingers closed together in a perpendicular line. The sculptures of the _whole fifth_ and _highest_ walls dominating _all_ the regions of heaven only distinguish themselves from those on the _northern_ lower walls by means of the _bent_ index of the raised right hand forming a _closed circle_ with the somewhat joined thumb, that is, because of the stone’s brittleness. The sculptures of the open worked _tyaityas_ on the three round terraces however, raise their _two_ hands before the epigastric region, the left one with the palm and the bent finger-tips in an upward direction, the right one with the palm to the left and the fingers bent over those of the other hand[74]. Moreover, they all miss the glory and have not been placed in open temple-niches above a human and mythical- and animal world represented by many sculptures, but hewn _in transparently closed graves_, and in higher spheres above this world. There is consequently more difference than between the sculptures of the five encircling walls. There is still another sculpture unique of its kind. When, a long time ago, in the beginning of our last century, the middle-dagob was opened a double space was found inside, a smaller above a larger one, and, among others, a Buddha image corresponding in size to all other sculptures, whereas the posture of the hands tallied with those on the _eastern_ lower walls[75]. This image having been unfinished can’t be ascribed to the merest chance or to an untimely stop of the temple-building, because the dagob itself, where it had been _wholly closed in_, was finished afterwards. So it must have been intentionally left in this state, but _I_ can’t possibly accept the supposition that it should refer to the _future_ [fifth] Dhyâni-Buddha in state of being.