The brief put Baba Pithoro where the ritual puts him: at the heart of the wall, mounted on the single white horse while the lesser deities ride their coloured mounts in the band above. Central-deity symmetry made the layout decision easy — pull him forward and large, hold the surrounding scenes at a smaller scale, and the eye lands on the crowned rider first, then travels out to the procession, the cattle, the village. Among the Rathwa of Chhota Udepur the painting is vowed to Babo Pithoro and his divine marriage is the reason the wall exists, so the white horse he rides earns its size and its quiet at the centre. Medium-light fill keeps the cream ground breathing between the riders so the smaller storytelling below — the peacock, the archer, the bullock-cart — never crowds the god out of his own picture.