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 members of his family, and in the picturesque architectural setting of the Dubar square. Seated or kneeling, in a dignified attitude, usually with hands clasped, from the height of his monumental pillar he gazes down calmly and serenely on the city that he ruled, and on the temples that he caused to be built. It is doubtful whether any country in the world has conceived a more artistic memorial statue than those to be observed in the public squares of the cities of Nepal. The well-proportioned stone pillar, some 40 feet in height, severe in its simplicity, stands firmly on the flagged pavement supported by a solid stone base. Surmounting this is a lotus capital—the symbol of purity and divine birth—and around this is entwined a snake, the emblem of eternity. Then comes the massive throne of metal-gilt, on the back of embossed lions, elephants, and dragons, bound together by boldly executed foliage, among the conventional branches of which sport animals, birds, and fishes, each having its special attribute. The statue is shaded and protected by a golden umbrella, hung with little tongues of metal which tinkle