The contention that no larger statues exist on the whole globe, is easily proven on the evidence of all the travellers who have examined them and taken their measurements. Thus, the largest is 173 feet high, or _seventy_ feet higher than the “Statue of Liberty” now at New York, as the latter is only 105 feet or 34 mètres high. The famous Colossus of Rhodes itself, between whose legs the largest vessels of those days passed with ease, measured only 120 to 130 feet in height. The second largest statue, which is also cut out in the rock like the first, is only 120 feet or fifteen feet taller than the said “Liberty.”(755) The third statue is only 60 feet high, the two others still smaller, the last being only a little larger than the average tall man of our present Race. The first and largest of the colossi represents a man draped in a kind of “toga”; M. de Nadeylac thinks that the general appearance of the figure, the lines of the head, the drapery, and especially the large hanging ears, are undeniable indications that Buddha was meant to be represented. But they really prove nothing. Notwithstanding the fact that most of the now existing figures of Buddha, represented in the posture of Samâdhi, have large drooping ears, this is a later innovation and an afterthought. The primitive idea was due to Esoteric allegory. The unnaturally large ears symbolize the omniscience of wisdom, and were meant as a reminder of the power of Him who _knows and hears all_, and whose benevolent love and attention for all creatures nothing can escape. As a Shloka says: _The merciful Lord, our Master, hears the cry of agony of the smallest of the small, beyond vale and mountain, and hastens to its deliverance._ Gautama Buddha was an Âryan Hindû, and an approach to such ears is found only among the Mongolian Burmese and Siamese, who, as in Cochin, distort their ears artificially. The Buddhist monks, who turned the grottoes of the Miao‐tse into Vihâras and cells, came into Central Asia about or in the first century of the Christian era. Therefore, Hiouen Thsang, speaking of the colossal statue, says that “the shining of the gold ornamentation that overlaid the statue” in his day “dazzled one’s eyes,” but of such gilding there remains not a vestige in modern times. The drapery, in contrast to the figure itself, which is cut out of the standing rock, is made of plaster and modelled over the stone image. Talbot, who has made the most careful examination, found that this drapery belonged to a far later epoch. The statue itself has therefore to be assigned to a far earlier period than Buddhism. In such case, it may be asked, Whom does it represent?