Then at that moment the women's apartment was changed in aspect and put in disorder by the gods son Dharmacarin and by the Cuddhavasakayika-gods. When they had changed it and given it a loathsome appearance, they spoke fromout the air to theBodhisattva in verses. Thus spake the gods sons, the high and mighty ones, to him with his long-shaped eyes like budding lotuses: "How canst thou find pleasure herein? Thou dwellest in the midst of a graveyard! " Urged by the divine rulers he looks for a moment at the company of women; he gazes and the sight moves him to loathing: "I do in truth live in the midst of a graveyard". And the Bodhisattva looked round upon the whole gathering of women and gazing at them, really saw them. Some with their garments torn away, others with disheveled hair, some whose ornements were all fallen off, others with broken diadems; some whose shoulders were bruised and others with naked limbs, and mouths awry and squinting eyes and some slobbering, etc. etc.

And meditating on the idea of purity, and penetrating the idea of impurity, he saw that from the sole of the foot to the crown of the head, the body originates in impurity, is compounded of impurity and exhales impurity without end. At this time he spoke this verse: "O hell of living beings, with many entrances; dwelling-place of death and age, what wise man, having looked thereon, would -not consider his own body to be his enemy ? " (205: 17; 208: 10, 21 ).

A large pavilion with- pendapa adjoining, represents the women's apartment. The Bodhisattva sits in the middle leaning on a cushion on his couch; the sleeping women are lying or leaning against it on both sides all in confusion. The sculptor has succeeded in giving a vivid impression of the unattractive appearance of this company of females in the most unbecoming attitudes, without degenerating into a rather indecent exhibition; on this point Barabudur is as respectable as the Gandhara-reliefs 1). This whole portion is enclosed by a palissade in the usual manner. On the left, outside the fence is another small pdndapa in which the guards are seated who, like the women, are all asleep.

Here too it is remarkable how the sculptor, faithful in the main, pays little attention to details. The following is an instance; the text (p. 206) says that the instruments of music had dropped out of the women's hands. On the Gandhara-reliefs, these are to be seen lying on the floor as described. The Barabudur sculptor takes no notice of this detail; he depicts the Bodhisattva awake among the more or less indecorous crowd of sleeping females. This is of course the main thing the text describes; and he does not mind about the rest.