cause an investigation of its contents a matter of no little difficulty. These are the portraits of the founder and his wife, and are regarded by all with great respect, almost approaching worship. In some few cases these are actually saints or deities, but the ordinary custom is to place in front of the shrine metal images of the distinguished laity who have been intimately identified with its establishment. Around these are grouped smaller statues, also portraits, and in front of each is a shallow receptacle for incense or oil and wick. These are likenesses of those who have contributed their moiety to the glorification or upkeep of the temple, or depict devotees who have dedicated a figure, a bell, or some sacred utensil, to be added to its furniture.
The method employed by the Newar in building up his larger statues is a somewhat unusual one, as he obtains his result by the combination of two distinct technical processes. His smaller work is cast in the well-known cire-perdue manner, literally, the "lost wax," and technically, the "waste mould," method of casting. Parts of his larger con-
