The Beginnings of Buddhist Art and Other Essays in Indian and Central-Asian Archaeology c7.s1.t2.7

c7.s1.t2.7

a) If we turn then to that (pl. IX, 2), we shall find, first of all, in the centre of the composition this same king, about to set out with great pomp from one of the gates of his good town of Kapilavastu. He is in his chariot, accompanied by the three usual servants, the driver, holding the reins and the whip, the parasol and fly-flapper bearers. As is customary, the horses, whose head-adornment is very high, have their long tails carefully tied up to the harness, doubtless in order that they may not inconvenience the occupants of the chariot. At their left the archers of the guard stand out along the ramparts of the city, and in front march the herald and the seven musicians of the royal orchestra, blowing oblique flutes and shells or beating drums. Behind we perceive, emerging from the streets of the town, a brilliant suite mounted on horses and elephants. Through the balconies of the verandas spectators, mostly women, protrude their heads, curious to see the procession of the feudal cortège of king Çuddhodana and his peers, the noble lords of the race of Çâkya.