For the general arrangement and decoration of the stele we must direct the reader to the references given for plate XXV, r ; let us note in addition the adantes at the bases of the columns (cf. Art g.-b. du Gandh., p. 208).

Only the middle part of the panel seems to be consecrated to the Maha-pratiharya. The teaching Buddha has his hair curled after the fashion of the later Indian schools. Under the side arches two other little magic Buddhas (one of which is broken), hovering on lotuses above the heads of the divine attendants, make one think prematurely of the Dhyani-Buddhas. As for the two attendants, very much damaged, they are here, as also on the following plates, reduced to the role of garland-bearers. The state of the stone no longer allows us to decide whether the two kneeling persons who are embracing the lotus are the Naga-rajas or human worshippers.

The upper corners of the slab are occupied by two scenes, of which the Bodhisattva is the hero (cf. pl. XXVII, at the top), and the two upper tiers of the gable by two episodes from the Mahabhinishkramana, the « Sleeping Women », and the « Departure from Home » (cf. Art g.-b. du Gandh., pp. 349-361).

The framework at the bottom is filled by a row consisting of the six predecessors of our Buddha, of Sakyamuni himself, and of his presumptive successor Maitreya (for the possible connection with the middle scene cf. above, p. 162, n. I). Seven human beings, probably the donors (cf. p. 173, n. i), surround them: on the spectator's right we recognize a monk, then a male and female devotee; on his left, two male devotees, one female and a child.

II. - Plate XXVI, 2, was made from a photograph which we believe to be unpublished, and to which we are indebted to the kind communication of Dr. Burgess; the original formed a part of a private collection in England, now transferred to the Ethnographical Museum in Berlin: in height it measures m. 0,65 ; it comprises the two lower stories of a gable or stupa (cf. Art g.-b. du Gandh., pp. 128 and 186).

At the bottom a teaching Buddha, seated on a raised lotus, seems to be placed under garlands or the very artificial foliage of a tree (cf. pl. XXIV, 2); two other little Buddhas (the one on the right, in relation to the central image, seems rather a carimabhavika Bodhisattva, similar to fig. 145 of Art g.-b. du Gandh.), appear under aerial aediculse in the upper corners of the panel. Of the two divine acolytes, the one on the right wears a chignon, and the one on the left a turban. Moreover, four tall lay persons are seated beside Buddha; those with chignons in the corner have their feet crossed in the same manner as has the right-hand attendant on plate XXV, I; the two others, who are turbaned, are in attitudes which we shall find again on plates XXVII and XXVIII, I: their number makes us think of the four Lokapalas (cf. above, pp. 173, n. I, and 174).

At the top we believe we can identify a representation - unique, so far as we know - of the vyakarana of Jyotipala {Mahavastu, I, pp. 314-335 and 335-338): Ghatikara, the Potter, is bringing by force to the Buddha Kacyapa his childhood's friend, the young Brahman Jyotipala, the same who later became Cakyamuni, dragging him, in spite of his resistance, by the hair. On the left of Kacyapa five monks, seated or standing, represent his community. The corners are filled with worshipping figures; still others adorned the exterior of the half-arches.

The original of this plate, the exact origin of which is unknown, is preserved in the museum at Lahore (no. 572), where we photographed it; it measures m. 0,85 in height. As yet it has been published only by Dr. Burgess (J. Ind. Art and Ind., no. 62, 1898, pl. 8, I). Only the middle part of the stele is devoted to the Maha-pratiharya.

Under the large lotus two persons, whose bodies are only half seen, but who are not otherwise characterized, and who are leaning back to look at the Master, must be the two traditional Nagarajas. Above the head of the great central Buddha, which is .of disproportionate size, two little genii, flying without wings, hold up a crown of jewellery under ornamental foliage. On each side appear two other small figures of Buddha, analogous to those on plate XXV, I, and placed respectively beneath a Bodhisattva in the costume of a Buddha (cf, pi. XXVI, 2) surrounded by a radiating halo, and beneath a group consisting of Buddha in conversation with a monk. The two usual attendants, standing on lotuses with bent stems, hold up their garlands (cf. pll. XXVI and XXVIII, I). Above them, on the right of Buddha, is Vajrapani, bearing his thunderbolt, and having on his head a tiara often worn by Indra (cf. Art g.-b. du Gandh., fig. 246) ; and opposite to him, wearing a turreted crown, the nagara- devoid of Oravasti (cf. above, pp. 174-5). About ten other gods are seated in various attitudes, all resting on lotuses, except those (who also have haloes) on the first row at the bottom (the four Lokapalas, two of which on the right are damaged; cf. pi. XXVI,. 2).

In the top panel a sort of apotheosis of the Bodhisattva corresponds to the transfiguration of the Buddha: the former, accompanied by ten persons with haloes, is seated, with feet crossed and a water-flask in his hand, under a parasol, on a low rattan seat covered with a cushion. From numerous analogies, and notably that of a bas-relief in the Louvre, where this scene immediately follows that of the Nativity {Art g.-b. du Gandh , fig, 164), we seem to recognize the samcoactna of the Bodhisattva Siddhartha (Lalitavistara, chap. XIII), a pendant to the adhyeshana of Buddha (ibid., chap. XXV). The point to be noted here is the close connection between the types and attitudes of the gods in the upper and lower scenes. On each side of the Bodhisattva are the same garland-bearers on lotuses; at the two bottom corners are the attendants in the same attitude as on plate XXV, 2; the first attendant on the left at the same level is turning round to express to his neighbour his admiration, as on plate XXVI, 2, etc.