Machine summary:
And in this other picture the Princess (for it is always the same Princess in Mughal Art, even though she be multiplied ten thousand times, like the eidolons of Krishna's sweetheart Radha) is seated on her gadi on the terrace of the Palace (the same Palace though its exterior appears to have been transformed) in the act of accepting a crimson lotus at the hands of one of her ladies-in-waiting.
The night sky is not the deep in• digo so often seen in these Indian pic• tures, but a transparent grey, not unlike some of Whistler's nocturnes, forming a clever contrast to the rest of this subject; the opaque and solid painting of the figure and draperies suggest an oil rather than a tempera technique, and the sky has the luminous freshness of pure water-colour.
Green is the predominant tint in the colour scheme of this interesting picture, and this hue is shown in a rare variety of shades, from the jade of the Prince's tunic, to the deep tones of the tree, and the varied shades in the background.
. There are several other pictures of the best period of Indian painting in Mughal times-notably one of a very Western-looking Princess whose fair curls rippling to the waist, are only rivalled by the brighter halo surround• ing them.
The lase of Mr. Dawud's Indian pic• tures which I shall here distinguish from the rest of this collection of beautiful paintings, represents a Princess at her devotions on the banks of a river.
Of course in Indian and Persian paint• ing, they are all Princes and Princesses!