after a pattern of "flying geese holding a wreath" (or ring). This pattern is also known from Cave 69, which is dated to 625–647 CE because of the depiction and inscription of a historically identified king. Because of this marker, Cave 123 may be dated to the same period. Two monumental Buddha images occupy the sides of the main cella. They have full-body "mandorla" halos filled with a multitude of sitting or standing Buddhas. These monumental images represent the second Great Miracle of the Sakyamuni Buddha at Shravasti. The myriads of Buddhas emanating from him, each standing on a lotus, are a result of his deep meditation at Shravasti, as recounted in the Divyavadana. This understanding of the Great Miracle is most prominent among the Sarvastivadin and the Mulasarvastivadin. The two monumental Buddhas are surrounded by attendants, some light-skinned and some dark-skinned, and a Vajrapani. The side corridors also have similar Buddha images, but this time with a supplementary decorated band around the Buddha, which is filled with a row of ring-bearing doves, hence the name given to the cave. All Buddha images are surrounded with numerous attendants, Devatas and Vajrapanis. The paintings were in great part brought to Europe by the fourth Royal prussian expedition to Central Asia of 1913–1914 led by Albert von Le Coq. The cave was reconstructed in Berlin around 1928, but suffered damage during the war. It has been reconstructed again recently in the Museum für Asiatische Kunst. The painting of the left side wall remains in-situ, quite damaged. The cave is quite outstanding and refined, either in terms of architecture and decoration, and departs from the mainstream of other caves at Kizil. Marianne Yaldiz has called it "One of Xinjiang's Mysteries". Untypically, the narrative scenes are placed over the entrance, taking second position to the monumental standing Buddhas of the side wall. This is a layout which became popular farther east in Gansu. In a final narrative evolution, the cave magnifies the figure of the Buddha, and gives an ever smaller role to secondary figures and stories. Other caves of the third period The Center Cave (Cave 186), the Third to Last Cave (Cave 184) and the Third Cave from the Front (Cave 187) are also considered as representatives of this third period. Uighur-Chinese Style (8th–9th century CE) A 4th period, also described as "The third style" receives strong influence from Chinese painting, a