210 and other groups. And Rati is similarly described (Gravely and Ramachandran, pp. 16, 73, 137). From the Jatakas (v. No. 531, p. 158) we learn that the mirror had a handle and frame made of ivory. No wonder that such an exquisite instrument to test beauty is called by Kalidasa vibhramadarpana^ i.e. mirror for reflecting feminine grace or toilet mirror (RaghuVajnSa x, 10) . Sivaramamurti, in his charming booklet, Sculpture Inspired by Katidasa^ refers to the line of Meghaduta I, 61 (also in another edition, 1, 58) "be the guest of Kailasa, mirror for divine nymphs" (kailasasya tpzda^avanitadarpanasyatithih sydh) : "The gay life of the Siddhas and other divine beings on the Kailasa mountain and the purpose of the mirror served by the glassy slopes as the trida^avanita —- heavenly damsels --- attended to their toilet are portrayed at Sanci (fig. 24) and the sculptor has given a second life to the line of Kalidasa."3 The third case, that of the bewitching mirror, is described by Bhattacharyya' under the Vajrananga form of the Bodhisattva Manju^ri, with six hands. The two main ones hold the taut bow made of flowers, primed with the arrow of a lotus bud. Of the four remaining hands, the two right ones hold the sword and the mirror, and the two left ones carry the lotus and the a^oka bough with red flowers. Manju^ri has here the role of the Hindu Kamadeva, who is called Ananga ("bodiless"), but with some extra weapons. Bhattacharyya explains the procedure: It is said in the Sadhanamata that in the act of bewitching a woman, the worshipper should imagine himself as piercing her bosom with the arrow of the lotus bud. The woman falls flat on the ground in a swoon, whereupon the worshipper should visualise her legs as being tied by the chain which is the bow. Then he should imagine that the noose of the lotus stalk is flung round her neck, and she is drawn to his side. Thereupon, he should think that he is striking her with the Asoka bough, is frightening her with the sword, and subsequently he has only to confront her with the mirror by which she is completely subjugated. The next case is the requital of a dream, in the Buddhist work, Mahavastu, within the Punyavanta Jataka:^ Prajnavanta then left his lodging and went down to a stall in the market-place. There he saw a merchants son wrangling with a leading courtesan in the midst of a large crowd. The merchant^ son was saying to her, "Come and entertain me tonight, and I will give you a hundred thousand pieces." The leading courtesan replied, "Sir, I have no time tonight; I have been hired by another. Tonight I shall entertain him, and tomorrow I will come to you, sir." So she went and entertained the other man that night.