A future, _not yet existing_ Buddha can’t be materialized by a _half-sculptured_ image, and the _fifth_ Dhyâni-Buddha is never hewed in the posture of the hands of the _second_, but always, such as on the northern lower walls, in his _own mudrâ_ whereas the _future_ Buddhas as _Bodhisattvas_ were represented not only in other postures but also in another dress and ornament and with their own attributes. Besides, the hypothesis challenged by me would not yet solve still existing mysteries, but would only give rise to other enigmas which don’t bring us any farther. The explanation of the fact may be much simpler. _I_ think it may have been considered quite unnecessary to finish a sculpture in such an accurate manner like all the other ones, if it should be hidden from sight for ever. What is the meaning of these different Buddhas? According to the posture of the hands we may divide them into _six_—according to other data into _three_ groups. _Nothing more_ and _nothing less_. The _three_ groups are: 1. The 432 Buddhas of the open temple-niches on the five richly hewed encircling walls, all of them seated on lotus-thrones and crowned with glories. 2. The 72 Buddhas of the open worked _tyaityas_ on the three round terraces, without any glory or lotus-throne but represented by the _padmâsana_ of the tyaitya-foot. But even the human and animal world hewn under the niche-Buddhas we don’t see there again. 3. The _only_ Buddha of the large dagob entirely sequestered, without glory or throne, but seated above the _padmâsana_ which carries the whole dagob. The posture of the hands however, ought to refer to _six_ groups, because there are _six_ different _mudrâs_. Wilhelm von Humboldt was the first who considered _five_ of the _six_ Buddhas to be the representations of the five _Dhyâni_-Buddhas. _Three_ of them: Vairotyana, Akshobhya and Ratna Sambhava successively redeemed and ruled over three following former worlds; the _fourth_, Amitâbha—our Gautama or _Shakya-muni_—ruled over _our_ world these 24 centuries, and is said to be succeeded, after the creation of a new world, by the _fifth_ and last, Amogasiddha, the _Buddha of love_. Especially in the posture of the hands there is some conformity between five of the six Båråbudur-images and the five Dhyâni-Buddhas such as we see them hewed in Asia. But there are also some points of difference. In the Mongol countries, for instance, the _two first_ Dhyâni-Buddhas are throning in the East; the _third_ in the South, the _fourth_ in the West and the _fifth_ in the North[76]. Taking, according to the posture of the hands, the images of our ruins to be _Dhyâni_-Buddhas the East would then be only occupied by the _second_ and the _zenith_ by the first of them, that is, above the round terraces which don’t dominate any region of heaven. But this happens more elsewhere in Asia.