After Sulima Square, continue south on the same lane and almost immediately you will enter a much larger open space. What at first looks like a green expanse is actually a large historic pond (Pokhari), choked from bank to bank with water hyacinths. This is Pimbaha pokhari, in the middle of which stands a lone temple connected by a causeway. Patan has many such ponds, which have the practical purpose of recharging the underground aquifers which are essential to supply the communal wells and water spouts on which the inhabitants depend.

Start circling the pond, keeping it on your left and your come upon a three- tiered temple of the mother goddess Chandeswari, erected in 1663, with guardian lions and bells at its base. One of the temple’s ground- floor charmbers is dedicated to Ganesh, the other remains empty. According to legend, Gayabajya in his quest for spiritual powers (Siddhi) went into deep meditation, with the instruction that an icon be placed in this chamber when he achieved siddhi. On the very last day of meditation his daughter broke his concentration, which is why this chamber of the Chandeswari temple remains empty to this day.

Continue past the temple and around the corner of the pokhari, and you arrive at a complex of white-washed monuments. Four smaller chaiyas surround a large stupa, which has the distinctive "all-seeing eyes" on its four sides. An inscription indicates that this structure is more than six hundred years old and was repaired in the mid-14th century after being damaged by the invader Shams-Uddin,who came up from the plains.

Turning left at the unusual twin-roofed pati, start walking along the southern rim of pimbaha pokhari, townhouses. As you walk along, you will notice paintings around the doorway of some of the houses. These elaborate decorations provide clues about the occupants. The presiding deity of the household is painted on the center of the lintel. Look out for these paintings as you walk through Patan; they are a fading art.

At the far (southeastern) corner of the pond, there is a small red dome-shaped temple whose pinnacle (gajur) is painted yellow. Nest to the temple is a pati which has been renovated. Patis are well-proportioned shingle-roofed platforms put up by philanthropists of yore. They are a fixture all over Patan and are much used by the locals, particularly the elderly, to while away the sunny winter mornings.

Take an oblique left past the pati onto a brick-paved lane which follows a tell wall on the left and a row of old residences some not in very good repair - on the right. These ancient houses bear the traditional Newari style of architecture in their carved wooden doors and windows, which date back to the Malla period. As the path turns a corner, look up, and to the right you will see a dramatic contrast between a traditional Malla-period dwelling and its modern counterpart. One house has the traditional brick facing, while the other is cement painted yellow; a fine lattice-work window serves both buildings.

Further along the lane, you enter the large and newly renovated courtyard of Nakabahi.
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