1878.] 
Foreigners in the Ajanta Frescoes. 
65 
action of some of the figures, especially the standing ones, hears such a very 
striking resemblance to what is characteristic of the figures in Christian 
art, that they might have been taken from some mediaeval Church, rather 
than from the caves of Ajanta. The delicate foliage which fills in the 
spaces between the figures will give some idea of the power of these old 
artists as designers, and also of their knowledge of the growth of plants. 
Referring to a picture in cave No. 16 he observes: “This picture, I 
consider, cannot be surpassed in the history of art. The Florentine could 
have put better drawing and the Venetian better colour, but neither could 
have thrown greater expression into it. The dying woman, with drooping 
head, half-closed eyes, and languid limbs, reclines on a bed the like of which 
may be found in any native house of the present day. She is tenderly 
supported by a female attendant, whilst another, with eager gaze, is looking 
into her face, and holding the sick woman’s arms, as if in the act of feeling 
her pulse. The expression on her face is one of deep anxiety, as she seems 
to realize how soon life will be extinct in one she loves. Another female 
behind is in attendance with a panka, whilst two men on the left are look¬ 
ing on with the expression of profound grief depicted in their faces. Below 
are seated on the floor other relations, who appear to have given up all 
hope, and to have begun their days of mourning,—for one woman has 
buried her face in her hands, and, apparently, is weeping bitterly.”f 
And he sums up the value of the whole by saying—“ For the pur¬ 
poses of art-education, no better examples could be placed before an Indian 
art-student than those to be found in the caves of Ajanta. Here we have 
art with life in it, human faces full of expression,—limbs drawn with grace 
and action, flowers which bloom, birds which soar, and beasts that spring, or 
fight, or patiently carry burdens : all are taken from Nature’s book—growing 
after her pattern, and in this respect differing entirely from Muhammadan 
art, which is unreal, unnatural, and therefore incapable of development.”]; 
It is to be regretted, however, that as yet no attempt has been made to . 
secure for the public a detailed, descriptive, critical and historical account of 
these relics. At one time a proposition was made to place the drawings at 
the disposal of Mr. Fergusson for the purpose ; but, I believe, it has since 
fallen through. 
The Government of India has, however, in the meantime, caused pho¬ 
tographic impressions to be taken of Mr. Griffiths’ drawings, and copies 
thereof sent to Societies interested in Indian Archeology. Three batches 
of these photographs have, from time to time, been received by the Asiatic 
Society of Bengal, and they fully bear out Mr. Griffiths’ remarks regarding 
their value. 
* Loc. cit., p. 27. 
I 
f Ibid,, p. 27. 
X Ibid., p. 28. 
