showing armoured warriors on horses. The murals of the back corridor were almost entirely gone by 1912. Only a few traces remained, suggesting scenes of the Parinirvana. The left corridor had a beautiful mural showing a monk transmitting the teachings of the Buddha to a kneeling royal family, whether the mural in front of it on the external wall was entirely gone. Similarities have been noted between the paintings of the Cave of the Painters and those of Dilberjin Tepe and Penjikent of the 5th–6th centuries. Cave 60: "Largest Cave" Cave 60, also called the "Largest Cave", is a cave which was expanded over several periods, and still contained a few paintings belonging to the refined style of the Classical First Period, while most of the paintings are from the later Second Period. The cave is known for its portrait of royal donors, characteristically accompanied by a label in Brahmi script. This is the only known possible instance of a portrait of royal donors in a painting of the First Style, whereas they occur very often during the second period. The style of painting is very similar to that seen in the Cave of the Painters (Cave 207). The hairstyle of the male donor is quite similar to that of the famous painter in the Cave of the Painters. The cave is also remarkable for the presence of Sasanian-style ducks in a bead roundel frames, a well-known motif which spread through Central Asia, and is known from the dress of a Central Asian ambassador from Afrasiab. This motif was likely painted later than the portraits of the royal donors. Second Indo-Iranian Style: strongly contrasted "blue and green" paintings The "Second Indo-Iranian style" evolved with a few intermediate stages, expressing continuous influence from India, combined with influence from the Eastern Iran sphere, at that time occupied by the Sasanian Empire and the Hephthalites, with strong Sogdian cultural elements. The Hephthalites lost political power circa 550 CE after being defeated by the Sasanids and the Western Turks, but they remained influential for a long time, having fragmented into semi-independent Principalities. Sogdia, at the center of a new Silk Road between China to the Sasanian Empire and the Byzantine Empire became extremely prosperous around that time. Central-Asian stylistic elements This style is characterized by strong Iranian-Sogdian elements probably brought with intense Sogdian-Tocharian trade during the period, the influence of which is especially apparent