48 
THE INDIAN MUSEUM: 1814—1914. 
have always been so indissolubly a part of the life of the 
people of that country, that until the deep meaning of them 
is better understood than at present, the Indian character is 
presented to the world incomplete in one of its most vital 
aspects. Conceive how limited our knowledge would have 
been of the Greek, if in our researches we had disregarded 
his art. Valuable pioneer work has been already achieved, 
notably by Mr. Havell, who has pointed out the way in his 
able writings on the subject, but much remains to be done 
before the full significance of Indian art can be adequately 
realized. 
It is therefore on this account that the collection of 
Indian pictures in the Museum is only temporarily classified 
into the two broad divisions of Hindu and Mahommedan. 
The various schools of painting require more definition before 
the examples can be satisfactorily allocated to their separate 
subdivisions. We know that certain forms of composition 
and methods of technique manifested themselves in certain 
cities and districts, as for example those families of heredi¬ 
tary artists at Kangra, in the Punjab, whose talent the 
wTiter was able to bring to light some years ago ; but whether 
we are justified in regarding these as schools of painting, or 
merely as local styles has yet to be determined. Irrespec¬ 
tive of any detailed arrangement, however, this collection 
presents a display of Indian painting which is probably 
unique. One of the earliest examples in the Museum col¬ 
lection is the picture of a wounded lion which it has been 
truly said recalls the vigour and truth of the ancient sculp¬ 
tures of Nineveh.” Another early specimen, No. 293, very 
fine in colouring, is a portrait, presumably of a poet, and is 
particularly interesting on account of its very obvious Per¬ 
sian character. A picture depicting '' Travellers round a 
camp-fire ” barely needs description as it fully explains 
itself, but as an impression of night and firelight it holds a 
high place. Another striking picture represents Avhisareka, 
the spirit of poetry passing through an enchanted forest, and 
is replete with symbolism; while in portraiture alone the 
collection presents us with a national portrait gallery of 
great historic interest. The likeness of the Emperor Aurang- 
