Machine summary:
In chapter VII, I have illustrated one such letter painted by a court painter of Jahangir, which vividly recalls the relations between the holy men of the Empire and the great l\Ioghul The magnificent development of the Moghul art is shown by a number of master-pieces including the works of the three greatest and best known painters of the reign of Jahangir • Studies in Indian Painting.
Hindu painting of the 18th and the first half of the ]!)th century has still to be studied in detail ; just as the ramifications of the Moghul school, especially towards the south at the courts of Poona and Hyderabad have yet to be traced.
" Of the other l\foghul paintings reproduced, we must mention "A Dal'har Scene " (Plate 38) in which "Ali Mardan Khan, Governor of Kandhsr, is seen bowing in the Moghul fashion hy doing mujra A high nobleman of the court of Iran wearing a long green robe, bearing.
" Of the eighteenth century Hindu (Mr. Mehta calls them; other writers call them Rajput, less correctly) pictures, while we admit that the examples given from Jaipur are more consistent with the Hindu (should we not say rather' Buddhist ?') classical tradition, we must confess that we find greater pleasure in the little school which our author designates the "court-art of Tehrigarhwal.
Even more charming to our taste is " In the Kitchen " (Plate 22) a singularly graceful picture of a Hindu lady in the act of cooking in her house with a11 the utensils of the art around her.