Then the Bodhisattva seated himself and partook of the sweet pap, as much as he desired, for the sake of Sujata, daughter of the village chief. (270: 3).

Here we have a striking example of the little that can be expected from the Barabudur sculptor's accuracy in details. The throne that plays an important part in the tale, and therefore in this episode has more meaning than the thrones and seats elsewhere, is quite a different one on this relief to the one before, where it was presented. It is much lower, the panel-decoration on the front of the base is gone and the back has a different shape. The Bodhisattva now sits on it, not on the round cushion that was put ready, but on a lotus-cushion. Next on the right is a rocky scene with a lion in his den, a peacock, and the usual trees; on the left on a small pedestal the food bowl, to which the Bodhisattva reaches out his right hand and next to that a vase of flowers; still more to the left kneel three naga-maidens under the trees. Behind these, the left of the relief is occupied by rocks with an armadillo and trees in which a pair of apes are sitting, in the left hand corner some bamboo-plants. Between these rocks flows the river, well-stocked with fish 1).