[77] See above, p. [13].

[78] See above, p. [23].

[79] For the reasons which account for the banners with scenes from the Life usually forming small groups or at least pairs, cf. Serindia, p. 852.

[80] This is in complete accord with the original Buddhist tradition which presents the descent of the white elephant not as a real event, but as a dream of Māyā; cf. Foucher, L’art gréco-bouddhique du Gandhâra, i. p. 292.

[81] For a textual reference supporting this interpretation, cf. Serindia. p. xxiii, add. to p. 855, note 50a.

[82] See above, p. [8].

[83] See Serindia, pp. 933 sq., Figs. 215, 226.

[84] For a full description of this instrument, cf. Miss K. Schlesinger’s note in Appendix H, Serindia, p. 1468.

[85] Cf. Serindia, Appendix E, p. 1429.

[86] See above, p. [37] sq.