It is from these Bharahat sculptures that the artist has taken most of the materials for the illustrations to the present volume. From these sculptures have been taken, not only three entire scenes, but animals, costumes, trees, plants, fruits, flowers, and other objects. In the case of two scenes, where the sculptured objects differ materially from the objects described in the text, the artist has followed the sculptures rather than the text. In the matter of details, the illustrations are believed to be correct in every particular. The design which appears on the cover, and again on the title-page, _Elephant and children_, is taken from Cunningham, Plate xxxiii. 2, _Elephant and monkeys_. The Bharahat sculpture represents an elephant being driven along by a troop of monkeys. The artist has substituted children for monkeys, but has preserved the spirit of the scene. It may as well be said here as anywhere else that the saffron yellow of the cover is the exact color of the robes of a Buddhist monk. The color is therefore symbolic. The frontispiece, illustrating Story 1, _The grateful elephant_, represents the scene in the elephant-stable. A pure white elephant is shown in the act of raising the young prince, the Future Buddha, to his shoulders. On the right stands the queen, under a parasol held by an attendant. On the left stand ministers of state, ladies-in-waiting, and slaves. The open window, through which the blue sky is seen, forms an effective panel for the portrait of the young prince. The saffron yellow of the background is again symbolic. The illustration to Story 2, _Grateful animals and ungrateful man_, represents the pampered prince astride of a tree-trunk, accompanied by his three companions, a snake, a rat, and a parrot, swept along by the river amid storm and darkness. The illustration to Story 3, _Elephant and forester_, shows the Future Buddha, in the form of a pure white elephant, reclining like a cow, and willingly permitting the ungrateful forester to cut off his two tusks. Trees.--Left middle: Pātali-tree, Trumpet Flower, _Bignonia Suaveolens_, the Bo-tree of the Buddha Vipassi. See Cunningham, Plates xxiii. 3 and xxix. 1. Centre over elephant: Probably the Sāl-tree, _Shorea Robusta_, the Bo-tree of the Buddha Vessabhu. The mother of Gotama is said to have stood upright at his birth and to have supported herself by a branch of a Sāl-tree. See Cunningham, Plate xxix. 2 and 5. Over elephant’s head: Fan-palm, _Borassus Flabelliformis_. See Cunningham, Plate xxx. 4. Right middle: Probably a Sandalwood-tree, Candana. See Cunningham, Plate lvii. Lower left: Magnolia. See Cunningham, Plate xxv. 1 (above archer).