In a large pendapa the two royal persons are seated opposite to each other; the one on the left has a woman sitting beside him; the other is alone and it might be difficult to make out which is which, if the sculptor had not given the one sitting alone a halo: so that must be the prince, as Bodhisattva. It is quite natural that the father is placed on his right hand. The rest of the company on the relief are evidently secondary figures, in the righthand corner sit two servants, behind them rises the roof of a building that indicates the further palace and left we see the seated retinue of the king in ordinary court-dress, with a roundshaped standard and the umbrella behind them. The difficulty is to discover which conversation between father and son is meant, that is, in case the story in our text has been followed. It may be the reception on the return from the wilderness or the warning given at the end of the story. In the first case it seems impossible that Sambula could be left out. On the other case it seems out of place to represent the old king, who has become an ascetic, in royal robes with a queen beside him. Here too the sculptor's version deviates; perhaps he had reason for not putting Sambula into the picture as on the last relief too she plays a smaller part than the text we have relates; or is it more likely that the whole episode of the neglect and the repentance comes in before the king abdicates ? Finally we must not forget the possibility Foucher suggests , that this might belong to some prologue to the Rudrayanavadana.