In the fourth week he took a short walk for the distance that is between the East and the West sea. (377: 3, 7).

So as to make clear that the Buddha is taking a walk, but not leaving Bodhimanda for good, the sculptor has chosen the moment of his return to depict the events of the second or fourth week. The empty throne stands under the tree in the middle of the relief; a lotus cushion put ready on it, above which is a kind of niche. The throne has here become a real sim. hasana; two small lions on four legs support the seat on which are two lions rampant, their heads touching the back of the seat. The Buddha advances from the right, he stands on a lotus cushion, holding the tip of his garment in the left hand and making a gesture of dismissal with the right. The sculptor has considered it beneath his dignity to be alone on his walk, so there is an umbrella-bearer (whose umbrella has a crooked stick for want of space) and a company of gods. Left of the throne is another umbrella and some one sitting on the ground, probably another gods son, who is fanning an incense-burner. The rest of the space on the left is fitted up with woodland scenery; trees with birds perched therin, and underneath deer couching.

Now in the text follows a repetition of the temptation scene; three of Mara's daughters, not discouraged by the warning of their father, who considers it a hopeless case, make another attempt to captivate the Buddha. He transforms them into old women, but later on relents at their request and pardons them. This scene is not given on the monument, maybe it was not in the text the sculptor followed, or he did not feel inclined te repeat the incident of No. 95. According to Pleyte (p. 136 and 143) the sculptor did give a combination and No. 95 would be typical for the second temptation scene. His argument is founded mainly on his taking the weatherworn dancers for the maidens changed into old women (relying on Wilsen's drawing), and this comes of course in the second, not in the first temptation scene. The drawing has also led him astray in another detail: Mara sitting in the left corner seems to be tracing patterns in the sand and this too is only spoken of in the second temptation scene, but in reality there is nothing to be seen of it on the relief. I have already given in No. 95 my explanation of this scene and how it corresponds to the first temptation scene, there quoted.