As to animals used for riding, the famous horse Kanthaka who carries his

master, the future Buddha, at the Great Departure, is to be found on Ia 64-7. This horse is treated in the usual careless manner of the Barabudur sculptors; on relief 64 and 67 it is quite bare, on 65 it has nothing but a band round its forehead and the Boddhisattva is sitting without any bridle, his legs drawn up on a saddle that also appears to be quite unattached to the animal's back and is flat in shape; on 66 however the horse has a bit and bridle as well as a saddle with a high back, the sort that can only be ridden astride. Both styles of riding are found elsewhere; with legs drawn up on Ib 2 and IBa 90, astride on Ib 93, while the saddles on the horses standing ready on IBa 169 and IBb 111 are also for the ordinary way of riding; Ib 36 is too indistinct to decide about. Besides saddle and bridle horses generally wear an ornamented band with bells round their neck. Judging by the best-preserved and most carefully finished animals on lBa 91, 93 and lBb 111, there were various styles of harnessing a horse; the saddle fastened with a belly-band, a strap across the chest and under the tail, and moreover a collar, intended only for ornament and trimmed with bells, we see on IBa 93; but the bells are put on the strap in front of the chest and behind the tail, while there is no separate collar, on IBb I 11. The horse on IBa 91, the very same as the one on 93, has bells on the chest-strap, no collar and no strap at all under tile tail; in other scenes as well the cropper is not to be seen. Armed horsemen often appear at the head of an important procession when the chief person is carried in a palanquin or on an elephant, as on Ib33, II 42, 54; and there are postilions on the horses of a carriage on Ia 39 and II 46.

The animal of state and ceremony is of course the elephant. Horses and elephants are seen together in a royal procession (IIB 17), or standing in readiness in the retinue of distinguished persons (Ia 31, 39, Ib 91, II 26); the mahout with his angkuca often sitting on its neck. In the same way elephants without horses are fount! Ia 16, III 85, IV B 82. They generally wear a band round the forehead with a three-cornered ornamentin the centre of it, and very often a cloth thrown over their back. The elephant on Ia 16 has a bell Formal its neck end two other bells hanging on either side of its body; but the one on Ib 39, 91, has bells all round its collar and along the strap that goes roused its chest and body and under the tail; there is also a collar with bells on IBa 37.

All these various kinds of bell-ornaments, the single one on the collar, the collar with bells all round it, the cropper as well, the side straps with single bell hanging from it, are also to be seen when the elephant has a seat or a howdah on its back and then sometimes there are bells along the bottom of the seat. The usual way of fastening the seat is either by two straps both passing under the animal's belly or by three, the middle one round the belly and the others going in front of the chest and under the tail. The chair is generally nothing but a seat with back and arms, sometimes open so that a cushion can be seen in it, as on II 97 and III 87, or else closed, with higher back and sloping arms as on III 3; or a sort of tray, with sides more or less ornamented, see Ib 14, 20, 92, III 9. A higher shape of the open sort, fixed on to a separate bottom piece, is strewn on III 20; something different is on Ib 70: here the man riding on the elephant is sitting in a box closed on all four sides and ornamented with pilasters, while the seat has back and arms as well. Another on III 50 is square and has a roof supported by pilasters; this is used for carrying dishes filled with what looks like wreaths and flowers. On II 54 we find the most handsome specimen of the seat on an elephant's back; first the bottom part made in framework with pilaster ornament on it, then the back resting on curved feet and then the slender delicately-shaped pilasters that support the roof with a ridge and a bell at each end.

Palanquins are also used for travelling; several times when describing the reliefs in detail we noticed that even where the text required some other vehicle, the sculptor has depicted a palanquin, a fact that may be due chiefly to the lesser space it would require in the picture, but also because he was accustomed to seeing these vehicles in use around him.

The most primitive kind of palanquin is strewn on IFla 75; it is no more than a piece of cloth fastened to two poles and borne on the shoulders of four men, the person carried sitting only on the cloth hanging between the two poles. The kind most commonly used isratherdifierent; a flat board on two carrying poles with a back to it that is not always distinctly strewn; there are generally eight bearers to this. On the reliefs the person carried is always placed facing the spectator while the palanquin is left in profile; the result is that the back of the seat behind the figure is fixed on the side, not on the back of the vehicle. It is difficult to believe that this was so in reality; probably the sculptor, to do justice to his figures, ignored the construction of the palanquin. The back, like that of other chairs, is more or less ornamented; the design is chiefly makara at the ends of the cross-piece. This style is to be seen on O 150, Ib 33, 81, IBa 39, 51, 123, IIB 17. An empty palanquin without a back is standing ready on IIB 86, it is nothing but a seat with a back and front edge with holes for the bamboo carrying poles. Occasionally we find handsomer specimens than the ordinary sort, these have arms as well as back and often twelve bearers, see IIB 83, 88, III 10. No less than sixteen men are needed to carry the splendid large palanquin on II 42, it has high sides at the front and back of the seat, decorated with a panel and pilaster, and the roof has an edge of antefix-ornament round it. If these panels belong in reality to the front and back or to the sides, we cannot be sure.

The carriages drawn by horses are all four-wheeled and with only one exception there are a pair of horses (having collars with bells as well as saddles); the wheels have always eight spokes. Besides this there is some further variety. One sort of vehicle looks just like an armchair with wheels fixed under it; this is to be seen Ia 66 and 57. It does not look very serviceable and we can see that the sculptor got into difficulties with the coachman. The whole carriage is only a seat for the chief person, therefore no room was left for the driver on the vehicle itself; he has been placed behind the horses, that is the upper part of his body appears there and only because no legs are to be seen do we realize that he is not standing but supposed to be sitting on something. On other reliefs where evidently the same kind of carriage is represented, the seat is fixed on a wide body that ends in a shaft, there is room on this for a servant to sit behind the seat and for the coachman, with another servant if required, in front. Tllis sort will be found on Ia 58, 59 and IBb 38; on the two first reliefs the end of the shaft is ornamented with a small lion and on the last there is a banner fixed on it. A1l the scenes mentioned so far shew the chief person seated facing the spectator and the carriage in profile.

The chariot strewn on IBa 290, without horses and flying through the air, is nothing more than a square box on four wheels. The one on Ia 27 has a large high body decorated on the outside with panels of beautiful tri,cula-cal~ra design and on this reclines the queen to whom the carriage belongs among her cushions, with a higher back and lower arms to her seat. The shaft ends in a curved flowerbud; the coachman is mounted on one of the horses.

The carriages next to be discussed are covered and all have the coachman riding as postilion, except Ia 34 where he drives his four in-hand sitting on the shaft. This shaft has a flag on it, just like Ia 39; in both cases the vehicle is the same sort found on IVB 17; a flat body with pillars at the flour corners supporting the canopy; the back of the seat has ornamental balusters round it. In the first two scenes an armed guard is sitting at the back of the carriage.

There are one or two examples of something again different. First that on IIl3 65, where a peacock is being carried to its destination, and where the whole affair perhaps has nothing to do with reality; the cart has a wide high body in frame-work and on that are the massive pilasters that support the roof; the peacock is sitting just in the middle but there is no sign of any back or arms as might be expected if it were intended for human beings. The one on II 46 also looks anything but real; it is in fact a pavilion, such as eminent persons so often sit in on these reliefs, put on wheels. The sides are unnecessarily thick and set on a foundation like that of a building, the roof with antefixes and crowned with a gem is all quite out keeping with a travelling carriage; maybe the artist has been tempted to give the Bodhisativa something worthy of him for the journey, a sort not used by ordinary mortals. There is a carriage with very strong sides on Illb 46 as well, though the top of it has disappeared.