and 4) the Assault of Mara. The middle row was almost entirely damaged, although scenes of the Preaching Buddha were identifiable. The panels can be numbered 5 to 9, but 5 and 9 being half-panels going over the adjacent walls. In one of the panels appear soldiers similar to those of the Cave of the Painters. The bottom of the wall contained fragments of panels showing: 10) the Parinirvana, 11) devotees looking at the Buddha being put in a coffin, 11) The Buddha in his coffin, and 12) would have been the Cremation of the Buddha. The upper part of the mural was removed by Grünwedel, and sent to Germany in panels, where some are still held in the Museum für Indische Kunst. This presentation of the various events of the life of the Buddha in successive panels reminds of examples from Gandhara, such as the Sikri stupa, although the panels in the Cave of the Peacock are remarkable by their rigorous chronological arrangement. Similar types of narrative panels have also been found in Andhra. The dome over the cella is composed of eight pairs of segments filled with a flying apsara among peacock feather. Numerous devatas and Buddhas of the past are painted around the dome. According to Historian of Art Benjamin Rowland, commenting one of the remaining fragments, the "group of sword-bearing figures are recognizable Indian ethnic types". Pictures of monks and one Kuchean donor holding a basket of flowers, all labeled with Brahmi inscriptions, appeared on the door wall. In the art of Kizil explanatory labels were often added to pictures of donors. On the contrary, such labels were never used for narrative representations. The "Cave of the Seafarers" (cave 212, circa 400 CE) The "Cave of the Seafarers" (Höhle der Seereise) is dated by Rhies to the early 5th century CE, based on stylistic analysis. Carbon dates are significantly later, circa 561-637 CE. The cave contained long narrative sequences about various paths to enlightenment. Most of the panels are now in the Dahlem Museum. The content of the paintings in the "Cave of the Seafarers" is clearly derived from Gandharan prototypes. A painter "Rumakama" (, "the one from Rome"), appears in a Sanskrit inscription in the cave. The inscription, scribbled on the right side of the mural, reads: According to Grünwedel, "the circles (mandalâni) undoubtedly refer to the edges made of foliage and human skulls", that