Here again as in the other three cities Maitrakanyaka visits, there is no sign of the palace in which he was to meet the thirty-two apsaras. The scenery is even wilder, with trees growing out the roclcy ground on the right. Our hero again approaches from the right, his head has been knocked off, but the flower is still visible in his right hand. He is now not alone, one of the thirty-two is walking behind him and has hold of his left hand. Thirteen others await their arrival on the left hand of the relief. They are in two rows as they were on the last scene, but now in much more natural attitudes. Some of them hold a bowl or a flower in the usual manner, but others have their arms raised or hold one another's hand; one has her hands clasped above her head with an imploring gesture, another lays her hand on her breast. In this way there is much variety in attitude and gesture, a freedom and charm that is surely intended by the sculptor to form a climax to these episodes, and in this he has succeeded. His last group of apsaras must have proved irresistible in loveliness as well as number.