The old man is quite on the left, in the form of a beggar holding out his hand; he wears nothing but a loin-cloth, leans on a staff and is led by a child, so he is probably meant to be blind as well. The rest of the relief is occupied by the suite of the Bodhisattva, but the ladies of the party are left out altogether. The military escort is there as a number of soldiers armed with swords and small shield, marching in front. Then comes the carriage and pair, an open fourwheeler, rather small, with the Bodhisattva on a seat. Above the horses we can see the head and shoulders of the coachman, making a sembah to his master. After the umbrella-bearer follow some persons in princely robes who may be the Cakya escort of the Bodhisattva, but are more likely the gods who are responsible for the apparition. Here on the ground two or three servants are sitting. Along the upper edge of the whole relief clouds are indicated, to shew that the scene takes place in the open air. In the Indian Buddhist art at Ajantal) and Pagan, scenes of the Four Encounters are known and the Chinese in the rock-temples of Yun-kang gives this episode as well, and does not refrain from repeating it four times like the sculptors of the Barabudur. The design differs from that on our monument; on the left each time is a palace, more like a gateway, out of which the Bodhisattva is coming, on horseback, followed only by an umbrella-bearer, while the god who is arranging the apparition, hovers above. Away to the right, the apparition itself is found. At Pagan each time nearly the whole relief is taken up by the Bodhisattva in his carriage, and the apparition is given in small size on the right '); at Tun-Huang the first three encounters are condensed into one scene, but the monk and the Bodhisattva himself are absent,