خلاصه ماشینی:
" When the present writer, for instance, viewed the 'exhibition in question, he found its almost empty walls, where every very modern picture was accorded the· semi-isolation due to a masterpiece, thickly hung with shadow pictures from the past ; and the almost empty galleries crowded with the ghosts of artists of very different calibre who had long passed beyond the veil.
It is interesting to note, however, that the European Art writers feel called on to shift their view-point while by no means thinking it necessary to shift their locale when they write about Art in India.
" When the defunct Moghul is so often dragged in as an ex-ptirte witness; when the absence of his mark from an Indian picture is so frequently held to disqualify the modern Indian artist from participation in the privileges of his own inheritance, it may not be out of place to consider what really constituted the Moghul point of view in Art. So far from finding that it was a narrow or esoteric view, both historical and intrinsic evidences to the contrary are overwhelming.
Jahangir had a picture gallery of his own and enriched it with the work of many European artists, which the Portuguese and the English Ambassador, Sir Thomas Roe, brought to him as presents.
''· Jehangir's interest in European paint• ing is thus explained by another author, " As a youth he saw 'the religious pictures which the first Jesuit Mission brought to the court of the Great Moghul for he accompani• ed the Emperor to their Chapel, and heard the discussions which took place concerning these examples of western painting.