As regards furniture first comes the couch, the bale‑bale of the present day. In its most primitive form we find it, for instance on O 13; a plank on four legs, quite rough and without ornament. The beginning of improvement was by decorating the legs, so as can be seen in the next scene O 14. Next, when the bench is placed out of doors, a roof supported by four columns is fixed over it and that becomes the beginning of the pendapa. We can notice as described above, how the sculptors tried to give the best place to the chief actors in the scene and keep the rest subordinate, so that the bale‑bale when occupied by several figures is made the right size for them, while the pendapa cannot possibly be stretched beyond the narrow limits of the relief and must be made too small in proportion, only large enough for one or two persons, far less than a pavilion in real life would accommodate; in fact about as many as might find room on a simple couch. As the distinction between the rooIed‑in couch and pendapa we can see that the first stands on legs and the other on a foundation; should the lower pert be out of the picture then it is not possible to distinguish one from the other, their design and decoration being so much alike. On the other hand, the couch being sometimes made with a back, is easily mistaken for a chair, especially when only one person is seated on it and it is made rather shorter. The real couch is of course one on which a person reclines and then this piece of furniture often takes up the whore apartment. This we see on IIB 81. There is a still more curious one on IIB 20; at the head it has arms like an easy‑chair, the back is high but it slopes down to the sides and rests on four legs, cushions are arranged on the back and within the sides that support the sleeping figure. On IBb 19, there is nothing but a stone bench on which a mattress is laid with a bolster; in this case we can see the resemblance to a pendapa foundation. Sometimes not even a foundation or bench of any sort is given and the sleeper merely laid down on a mat; this is actually done on Ia 13 to queen Maya, the future mother of the Bodhisattva.

Thrones and seats there are plenty of, in all shapes and sizes. The simplest kind is the square undecorated pedestal we find very often, which even when it is improved with some ornament so as on IBa 191 or II 30 and 51, is nothing more than a block of stone or wood with the figure seated on it cross‑legged. It can be made more comfortable by adding a mattress and bolster as the woman in no. 51 does; the chief‑person on II 89 does not even require the pedestal but sits on the floorofhispavilion with just a mattress and bolster. Out‑of‑doors it may be necessary to give this kind of seat a small roof supported on pillars; the roof is in most cases flat but occasionally in the shape of an arched niche (O 42) or finished with a three‑cornered pediment (O 79).

Both kinds of seats, pedestal‑ or chair‑shaped, can have a back which is nearly always without arms. The construction may be quite simple, merely a cross‑piece ending in a couple of knobs supported by two straight legs, more or less ornamented, and generally in the design of makara‑heads at the ends. In this last style is the empty throne prepared on Ia 87 for the Buddha, with a large bolster on it; further on, Ia 105, he is seated on one of a plain shape with a back and a very elaborate pedestal so we see that chair‑back and legs andpedestal are not always equally decoraf ed. Examples of distinctly handsome seats on a pedestal are found among others, on Ib 118 and 57, both in makara‑design; on the first‑mentioned it has become conventionalized into tendrils; the throne on legs, Ib 79, has a bold rich makara decoration, where we see behind the elephant‑heads the same spiral or tendril Ornanlent familiar to us with staircase and gateway makara's. On Ib 13, seats are to be seen with a pedestal and with legs, side by side. Sometimes no pedestal at all can be seen and the back seems to rest on the ground so as Ib 79 shews us. In such cases both mattress and bolster are desirable, see II 62; there are many instances of this sort. Here are nearly always bolsters at the back, though little can be seen of the mattress or cushions; notice one special instance on III 41, where a pattern of squares is discernible. In front of the pedestal there is often a cloth hanging down.

There are very few examples of arm‑chairs. On IIB9 and 89 both scats are empty, placed ready with a cushion; possibly such chairs were in more general use than would appear by these two instances, and the sculptors preferred to show their figures more distinctly without arms to the chair. A cushion by itself without any chair appears on IBb 92, and on IV 41 there is a cushion laid on top of a lotuscushion, therefore evidently intended for a Buddha or Bodhisattva. Sometimes on the top of the chairback there is a semicircle (IV B 2) or a niche (IB a 167) introduced; in one case (O 27) a separate decoration is seen behind the whole seat, apparently not attached to it; columns at the side and roofed over by an arch shaped like an accolade, with a kale head in the centre and makara ornament turned outwards at the side above the columns.

There are some seats of a different shape worth attention. The empty chair on IIB 27 shows a chairback with open work in squares on the back between two pillars; on the top of the chairback in the middle is a threecornered ornement in the shape of an antefix, while the usual ornamcnt at the ends has thec}laracterofacornerantefix.OnIa49thepedestal is not rectangular but hexagonal. No. IV 21 is a very remarkable one, where the pedestal is made like a small temple, it belongs to a Buddha and therefore is not subject to human requirements; the same with the hexagonal throne ornamented with lions, occupied by (;akyamuni on Ia 111. T. ion‑tllrones are quite common, used not exclusively by a Buddha as on IV 26 or a Bodhisattva (II 127, III 12), but also by a woman(II 65, 71, 79, 107, in the last it is goddess). They are always designed with lions supporting the seat or as smaller figures against the foot of the throne. There is one instance where (Ib 113) a man in royal dress is seated on an otherwise ordinary seat with legs, while a small lion appears underneatll in the centre. On II 128, already‑mentioned, there is a figure mounted on two of the four lions under Maitreya's throne; the back is ornamented at each side with the favorite design of a rampant lion on the recumbent elephant's head, while the lion supports the back of the chair with its makara ornament. Such thrones are made specially for the Buddha (Ia 100, 113, II 1); in one instance Cakyamuni's throne is supported by a human figure instead of the lion (Ia 101) and the same variation appears in the empty chair probably intended for a Bodhisattva on IV B 61 and the throne for a human being on II 121.

Besides the large seats and thrones, there are smaller stools and footstools and benches. We have already noticed the low brahman‑stools made in reality of cane; a very plain kind with only one twisted line between the top and bottom, is found on IIB 25, but as a rule it is a curve between two uprights (see for inst. IIB 56, 79, 80, II 124, IIIB 72, 82, 84), sometimes angles instead of curves (II 39). On O 156 a stool of this basket work is being offered as a gift; IIB 83 shews us a very fine specimen. One of the three brahmans on IIB 32 is sitting on a stool like this, the other two on a bench the legs of which are twisted, and turn inwards in a point. A similar kind of bench can be seen on Ib 36; the three‑legged footstool on IIB 21, used by a nurse with a child, is much the same. Besides these uncommon specimens there are some very ordinary ones, just a plank on legs, these can be found on Ib 35 and 38, but there is no reason to mention everything of the kind.

Under the thrones and couches the space is continually used for stowing away small objects. Boxes and chests, square or rectangular, sometimes open, sometimes closed with a more or less arched lid  or fastened round with bands; long cylinder‑shaped packages tied round with flat bands, high jars with wide bottoms, pots and martevans, j ugs with and without a spout, flat basins often piled up together, cups and goblets of earthenware with and without lids, dishes with wreaths on them, round boxes and all sorts of tilings. They are to be seen on nearly all reliefs where there is a chance to put them in and we may consider that in such details the sculptors probably depicted reality, only the place may‑ be due to the fact that the space under the seats was very appropriate for such paraphenalia. The contents are seldom definable, when it can be seen they hold something. The most distinct are the chests, bowls and trays holding valuables, rings and coins forinstance on O 113, 127, and IBb 20; on the last scene they are not under the seat but being offered as a gift. On Ib 19 leaves are hanging out of the opened box with a lotusflower here and there among them; on O 73 we see an open dish with a comb on it, next to this is a basin with a lid and a couple of balls; Ia 54 has wreaths and O 30 fruit on it. For further utensils of this kind placed under the seat see O 6, 11, 18, 27, 43, 65, 70, 116, 125, Ia 60, lb 71, but they can be found almost everywhere.