This also refers to the posture of the _sixth_, for a long time unexplained Buddha on the highest encircling wall whose mudrâ was rightly called _dharma tyakra_[81]. Thumb and index, circularly joined together, represent the _tyakra_, god Vishnu’s disc, the sun, the symbol of the _dharma_, the buddhistic _Doctrine_. Buddha has been consequently hewed there as _preacher, preaching the doctrine_ to all people, and _consequently_ towards _all_ the regions of heaven. And this teaching of the king-Buddhist has been perfectly confirmed by the fact that on _all_ the sculptures (especially on those we also see on the backwall of the second gallery) the thumb and the index join each other in the very same manner. That this preaching preacher has been placed upon the highest wall will be easily understood if we consider the preaching of the doctrine to be the highest vital expression of Buddhism, and possibly referred to both the world of the four zones of heaven and to the one of the celestials in the _zenith_. XII. A few remarks about the sculptures of the original foot of the outer-wall we didn’t discover before 1886. In 1890 I proposed them to be uncovered and photographed, afterwards they were covered again in the ancient manner, and hidden from sight. They have been hewed on a projecting wall-foot which goes tolerably deep beneath the heavy ogive, now resting as a socle again on the surrounding outer-terrace that has been afterwards built all round the 36-angled basis of the temple, but only on 24 of the 40 panels. The _two_ sides of each of the double fore-buildings of the four temple-fronts built towards the different zones of heaven, _haven’t_ been adorned with any sculpture, but the staircases divide the four middle fore-buildings into _two_ panels. Each of the 24 hewed panels contains _six_ or _eight_ imageries one metre long by about 80 inches high. A system of flat frames might have separated the whole series from the mentioned ogive, so to say, a regular combination interrupted by the staircases only. If the 160 scenes which form this combination are to represent a series of following events or legends we then must try to find the beginning (like on nearly all other hindu temples) to the south of the eastern staircase following it from there through the South, West and North till the starting-point in the East. This _didn’t_ happen and could not have happened when they were photographed because the temporary uncovering began and was continued at more than one place at the same time without knowing how many sculptures there would be found. They have been marked on the clichés with capital letters for the different panels, and with figures for the scenes of each panel (from 1 till 6 or 1 till 8), but these numbers have been occasionally noticed in a just direction, and from time to time in a reversed successive number. On a few copies we don’t see any letter and number; they may have been cut off with the margin of papier.