392 Journal of the Asiatic Society of Bengal. | November, 1909. ] 
this note—preclude us from upholding their old name as images 
of Kalkin, and that in view of their close agreement with 
Varahamibira’s description we should in future call them 
images of Revanta. As wi e seen from the illustration 
Ms 
marching in front of the cortege. The other images of the same 
type which are in the Indian Museum closely agree, although 
There can be no questioning as to the fact that the atten- 
dant figures just described have no place whatever in the legend 
of Kalkin, the future Avatara of Visnu. All that we read 
known to us from Northern India. On the other hand, it is 
evident that the archers, dogs, and other attendants are very 
well suited for a person whom the artist intended to represent 
as hunting (mrgayakrida), such as Révanta used to be repre- 
sented according to the description by Varahamihira. Thus, 
the musicians playing drums and cymbals do this in order to 
water along for the use of the hunting party, and the bow! 
Thus all these indications clearly point to Révanta, and 
prevent us from calling the main figure in those images 
** Kalkin.’’ There remains, moreover, one important point to 
be noted, The man on horseback wears boots like those wo!D 
by Surya on his many images. It would be difficult to explain 
this attire in an image of Kalkin, while it can not surprise US 
in the least to find Révanta, the son of Sirya, dress like his 
father and wearing boots in accordance with the fashion of the 
people from Northern India. ! 
1 SQYAG, Varshamihira, fc. v.46. 
