Next we come to the various trades and occupations represented. There is not much to be learned about them from scenes among the higher and highest class of people as most of these are. Agriculture, to begin with, only appears in a few scenes. Two of these shew us ploughing, IBa 336, and (unfortunately very dilapidated) IBb 2. The plough is drawn by a pair of bulls, the yoke resting on the shoulder in front of the hump, with a collar round each beast's neck. The plough itself is the ordinary primitive square shape, by which one side scrapes along the ground and forces the ploughshare into the earth; the other side sticks up with the top bent over to the back and guided by the hand of the ploughman who walks behind and directs it with his left hand, holding a stick in his right. On the first of these reliefs we can see plainly the bands that hold the ploughshare. There are no other scenes of ploughing; a man with an ox but without any plough appears on IIIB 1. In connection with agriculture O 65 should be noticed, where a couple of men are keeping guard under a grain-shed next to a field of maize that is ravaged by rats.

As for craftsmanship the most remarkable scene is the bridgebuilding on IV 46. The bridge is being laid over a swiftly-flowing river, and is apparently made of bamboo; though the relief is rather damaged and the bridge is far too small in proportion to the men who are working at it, yet the sculptor shows clearly how he intends to construct it. It must be/ taken from life, for in the interior of the country it can be seen at the present day that these kind of bridges are still used. It is three-cornered in shape; bamboo-poles, fixed into the ground on both banks of the stream! and bound firmly together at the top, form tile two sides and hold the N base that is the actual bridge. The workmen are just fixing it at the top; the tools that some of them have near them are not distinctly to be seen, but the pickaxe on the Bodhisattva's shoulder is quite clear. The square tools carried by the men on O 5, 118, 122, and IBa 154 have been taken for ploughs, but most likely they are the beams for the carpenter; if this is correct,—the relief at Prambanan where workmen are making the scaffold for a cremation makes it probable)—, then the tools that look like crow-bars, carried by the men on IBa 154, together with the beams, probably also belong to the carpenter's work.

Another example of work that can be clearly understood is the potter's on IBb 107. On one side we see the jars already made, on the other side the potter is at work, using a flat stick to get a good shape. Bearers with carrying-poles are bringing large round balls, it may be clay or gourds with water. Women and children are looking on just as natives always do. The same is to be seen on Ib 98, but it is not possible to make out distinctly what is going on. An old man with a square hammer is hitting a small object that he holds between his thumb and forefinger on a kind of carpenter's bench; another man has a tool like a chisel in his hand and seems to be working at some small objects that are laid in front of him on a broad flat block. On Ib 51 craftsmen are probably making the little kinnara's that seem to figure in the story; one of them is working at these images with a straight stick, another has a bow-shaped tool in his hand, a third is hacking at a long piece of wood with a sort of pickaxe. In another scene, O 30, a man is sitting with a tool on his shoulder that looks like a hammer, perhaps an adze to judge by one edge being blunt the other sharp; he is not using it so that we cannot see what work it is made for.

In describing Ib 2 I remarked that the man who walks in front of the troop going into the forest, holding a peculiar kind of knife first bent into a right angle and then having a broad curved point, must be there to cut out a path: the same kind of knife with the name "siwah" is still in use in the Lampongs l) and found in Madura as well, while several kinds of kudi shapes shew unmistakeable resemblance to it. Grass cutters are always easily recognised by their tied-up b~mdles of grass and their tool, on O 117 a reaping-hook, on IBa 21, a sickle. For Ia 90, we must rely on the text that the man is a grass-cutter, for he is pulling it with his hands, not cutting, supposing the relief is correctly identified.

In the series on the buried base, twice we come across a man whom we are in doubt about, whether he belongs to the handicrafts or trade. He appears on O 39, 50 and 97, with a stand made of bamboo that has a semicircular lump of something on it, and legs formed by poles that split into prongs at the bottom so that it can be carried OI1 the owner's back or fixed up in the ground. Such portable stalls are not uncommon; they are still found in use nearly the same in construction, for instance in Middle-Sumatra. What there is on them is not very distinct; on O 39 there seem to be a couple of fishes hanging at the side, on O 97 a pair of birds are next to it. In the first case we might take the man to be a travelling food-seller and the round object would be the basket-cover kept over the food, but neither of the reliefs shew anything to confirm this idea, and the birds make us think they may have been the objects preserved under the cover. Moreover the "basket" on 50 is so flat that it does not look like a basket, but more like a whetstone. In short, it is better not to guess about it; possibly these are not always meant for the same kind of traders.

A real merchant or trader is certainly to be seen in Maitrakanyaka on Ib 106 and 107. In the first scene he is not actually shopkeeping but just handing over the profits to his mother, but the jars standing near to her may of course contain some of his wares. No. 107 however certainly represents a shop, only we are not able to make out which of his continually flourishing businesses it is meant to be. As far as the damaged state of the relief allows, we may take it to be the goldsmith's. The purchaser seated opposite to the merchant, is holding a pair of scales, in one scale there is a ring and in the other there seems to be a bag of money. Between the two persons there is a bundle of something like sticks and a round bulky pot. A few pieces of stuff are hung over a rail, out of place in a goldsmith's, shop as we must hesitate to call it.

According to the text the chief person on II 118 should also be a merchant but here he seems to be dispensing only edifying discourse with little attention to business; in front of him is a small table on legs that surely would have given us some information, if its whole top had not been knocked off. Though Ib 56, the Cibi-jataka,isnotbyanymeansashopkeeping scene, it must be mentioned in this place for its large weighing machine, a cross-beam resting on two posts to which the actual weighing-instrument is fastened in the centre, a balance with two scales. It is ornamented here and there, as befits a thing in royal use; some examples that have been dug up are also finely-worked.

The men we see carrying various things in a yoke may often be streetvendors, but sometimes they are on other errands, as for instance the man on Ib 41 who is taking home the corn that fell from heaven in a miraculous shower) and the one O 1, who is carrying away the fish caught in the tunnel-traps). Then again O 50 where a man iscarrying his goods in this way, while another bears a load on his head; on this relief notice the sort of little roof that is fastened to the carriers yoke to protect him and his wares from the sun. Then look at the little round pots on O 37, or the square trays with feet and conical cover on O 43. Waterbearers carry their jar in their hand or on the head, as strewn Ib 16 or IBa 221, but in the last scene we see the larger jars are being carried in a yoke.

There were of course literary men and artists in the society here depicted, as some of the scenes shew. Reliefs have already been described where teaching is going on; I will now mention scenes where books appear, O 77, 79—82, 84; 85, Ia 3, 38, IBb 72, 110, 126, 128, IIB 7, 8, 25, 33, 34, III 56, IIIB 8, 9. The books correspond to the well-known kropak shape; they open into loose leaves held in the hand, and when closed are bound round in the usual way with bands; three straight ones at both ends or across the middle or slantwise across the whole book. Sometimes a rosette can be seen, probably an ornament on the cover. When necessary, books are laid on stands or trays or may be, if IBb 10 really shows a book D, on a small three-legged table. Once or twice at homagepaying ceremonies, objects are being carried which look like two books tied together with cross-bands; they are really larger than ordinary books, so perhaps only meant for oblong boxes; there is of course no reason why only books should be tied together in this way. These things are found on II 55 and III 49. An unfolded letter, oblong in shape with an edge to it, is to be seen on Ib 65.

We see that portraits were not unknown, by Ib 22 and 23, and Ib 70 where a portrait of the Buddha though rolled up and not visible is being escorted with due honor and respect by a procession. There is a small carved Bodhisattva image in a niche on the roof of a building on III 34; Ib 54 probably shews us a picture in painting also fixed on the upper storey of a building).