Dr. Dhere has narrated the series of events which made available a manuscript of Shatsthala. Only 57 pages are available with 12 pages each of its starting and ending are lost. Amongst them about 21 ½ pages are devoted to Shatsthal.
The origin of the manuscript: It was traced to the collection of Purandares of Saswad. Saswad is a place of Samadhi of Sopandeo. The family of Gosavi is looking after its administration. They hail from the spiritual tradition of Muktai. In the past many of the manuscripts were made available by the family.
Analysis of the manuscript: Out of nine titles in the manuscript, six of them were composed by Dnyandeo or related to him. Shatsthal is written by Visoba, from the tradition of Muktai. A title ‘Guruparampara’ comes from Nath tradition, and hariharsamvad starts by saluting Adinath. Thus, the most of the works are by Dnyandeo, or related to him or a sect nearer to him. The family at Saswad is part of the spiritual tradition of Visoba.
Name of the work: It is expected to be Shatsthal. However it is written as Shduschhala or Shaduschhali etc. The author himself has categorized the work as ‘Granthaprabandh’ or ‘voviprabandh’ ‘prabandha’ means a form that can be sung.  Thus, the title is Marathi form of Sanskrit Shatsthal,- hence it is the one used by Dr. Dhere.
Marathi critique: The composer himself described it as a critique. Thus it indicates that it follows one or more works related to the theory of Shatsthal were consulted for writing the critique. The followers of Veershaiva sect have written in both, Sanskrit and Kannada about the topic.
Expanse of the work: It consists of three chapters with 677 verses in the form of ovees. The numbers of verses used are continued throughout the work and not numbered by chapter. Thus, the first chapter contains ovees from 1 to 229. The second one contains the ovees from 230 to 337. The third chapter contains ovee number 338 to 677. It might have divided into chapters in later times.
The name of composer: It is composed by Visa Khechar. At the end of all three chapters it is mentioned. In addition it is mentioned in ovee no. 154. Twice it mentions of Khechar. So Visa could be the first name and Khechar could be an adjective or surname. In some places he mentions himself as a son of Krishna. It could indicate son or disciple of Krishna.
The mentor of the composer: It mentions Krishna Sadguru, Krishnanath. At the end of work he mentions as Ramkrishna.
The mentor's tradition: At the end of work it is mentioned continuously as Adinath – Meena or Matsyendranath – Gorakshanath – Muktai – Changa Vateshvar- Ramakrishnanath or Krishnanath – Visa Khechar.
The sect of the composer: It is Nath sect.
The subject of the work: The subject is definitely Shatsthal under the Shivagama. It is related to Veershaiva sect.
Importance of the work: a. The composer visoba Khechar was believed to be a follower of Dnyandeo. But Dnyaneshvar or his brethren are not mentioned in the work. So when was it that he came under the influence of Dnyaneshwar?
b. Is it that Visoba was disciple of two precepts such as Krishnath and Dnyaneshwar? What could be the chronological order or them?
c. Changa Vateshvar was believed to be a disciple of Muktai, a sister of Dnyandeo. However the tradition mentioned in the present work mentions of the Muktai, a disciple of Gorakshanath.
d. Visoba is undoubtedly a follower of the Nath sect. Why did he write a critique on Veershaiva philosophy?
e. There are many more issues that comes to fore related to the tradition, philosophy and the important people at that time. Once we deal with some of the issues, other concurrent issues may surface which may give a lead to solve them.
Limitations of the study: It is important from cultural and literary history during the period of Yadavas. However the study of the cultural aspect asks for wider scope of study.