23. Fate in fulfilment. Roruka and almost all its inhabitants are buried under the sand. We see Mahâkâtyâyana on his home-journey in the village of Khara. Through the air the tutelary goddess of the destructed town followed him to that place, and the monk leaves her his begging cup over which a stûpa will be built.
24. In the next stage, called Lambaka, the inhabitants offer the royalty to the monk’s disciple, Syâmaka, because of the wonder they saw, that is, that the shadow of the tree under which he took his seat, behaved to himself but didn’t follow the course of the sun.
25. In the third stage, named Vokkâna, the monk gives his mendicity to a woman, who in former life, had been his mother. Reason for the building of a new stûpa.
26, 27 and 28. A rural scene between two sea-pieces. On 27 we see a monk in a town fenced all around. Mahâkâtyâyana’s return in Syrâvastî. 26 and 28 represent Hiru’s and Bhiru’s disembarkment on the spots where they once will found the towns of Hiruka, and Bhiruka.
The 2 remaining panels, 29 and 30, relate the touching story of the two kinnaras who could never forget that one day, 697 years ago, man and wife had been separated in their millennial life for a whole night because of a swollen river.
The king of Bénarès, one day hunting for game, surprised and listened to them. In the one relievo we see the prince hewn in a standing—in the other in a sitting posture, for the rest both the representations consecrated to the kinnara- or Bhalâtya-jâtaka, have been hewn in the same manner.
These mythical beings I always called gandharvas because they always represent birds provided with a human head and bust. I never saw them with a horse’s head like kinnara’s have been described in Dowson’s Classical Dictionary.
With the exception of the Maitrakanyakavadâna, mentioned here-above, Foucher didn’t explain any other relievo of the inferior series of the back wall at the north-west corner, because we haven’t any data.