great one in the summit chalice, the serene one who, having attained the supreme end, was left to brood alone, inaccessible, shut out from, beyond all the world. For this reason it is believed that this standing statue was left incomplete, the profane chisel not daring to render every accessory and attribute as with the lesser ones.
Humboldt first noted the five different attitudes of the seated figures, and their likeness to the five Dhyani Buddhas of Nepal; and the discovery of a tablet in Sumatra recording the erection of a seven-story vihara to the Dhyani Buddha was proof that the faith that first came pure from the mouth of the Oxus and the Indus must have received later bent through missionaries from the Malay Peninsula and Tibet. The Boro Boeder images have the same lotus cushion and aureole, the same curls of hair, but not the long ears of the Nepal Buddhas, who in the Mongol doctrine had each his own paradise or quarter of the earth. The first Dhyani, who rules the paradise of the Orient, is always represented in the same attitude and pose of the hands as the image in the latticed bells of these upper, circular or Nirvana terraces of Boro Boeder. The images on the east side of Boro Boeder's square terraces correspond to the second Dhyani's conventional pose; those on the south walls, to the third Dhyani; the west-facing ones, to the fourth Dhyani; and the northern ones, to the fifth Dhyani of Nepal.
There are no inscriptions visible anywhere in this mass of picture-writings, no corner-stone or any clue to the exact year of its founding. We know certainly that the third great synod of Buddhists in Asoka's
