THE ART SECTION. 
47 
examples, chief among which is a large liukka very charac¬ 
teristically enamelled. The art from this city has now 
practically died out and 12 years ago only one craftsman who 
had any knowledge of the process was to be found. At one 
time it must have been a flourishing industry and was prob¬ 
ably considerably encouraged by the Court. One example 
in the Museum collection has a peculiar interest. It is a 
hukka-h^i^Q ^ the body of which is decorated in the usual 
enamel of Lucknow. But inserted into this pattern are a 
number of panels or medallions enamelled in a manner which 
is seen nowhere else in India. The style of work is ap¬ 
parently French and may have some association with those 
European craftsmen who found their way to the Court of 
Oude a century or more ago. 
The other main division of the Art Section is the Picture 
Gallery. These pictures have been already referred to in 
connexion with the metal statuary as comprising the highest 
form of artistic expression in the sphere of Indian sesthetics, 
so that the picture gallery is probably the most important 
part of the entire section. This gallery contains an exhibi¬ 
tion of about 600 indigenous miniature water-colour paintings, 
collected from all parts of the country, and fully representa¬ 
tive of this aspect of the fine art of India. Here, it must be 
confessed, that the appreciation of the pictures and statuary 
of this country, due to the broader outlook that this subject 
has recently demanded, has moved at a greater pace than our 
knowledge, so that although this collection is a very com¬ 
plete one, it still requires a considerable amount of research 
to be expended upon it before its full significance can be 
understood. The art of almost every other country in the 
world has received more or less expert investigation, but a 
practically untouched field lies open to the student in 
connexion with the metal statuary and painted pictures of 
India and Ceylon, Nepal and Tibet. The material for this 
research has been collected and is at hand, as may be seen 
by a glance at the possessions of the galleries now being des¬ 
cribed, but students are required, especially Indian students, 
to utilize their scholarship in dispersing some of the haze 
with which this subject is surrounded. The arts of India 
